2020. 2. 23. 08:31ㆍ카테고리 없음
Those days there is an interesting experiment in Berlin, at the Komische Oper.Olga Neuwirth, based on Alban Berg’s Lulu, transform the characters into African-Americans whose fate plays out against the backdrop of the US protest movements of the sixties and seventies. The third act (in New York) contains new music and text by Neuwirth and her librettists. Berg’s music in the first two acts is orchestrated for a type.
of jazz ensemble, because it is the music for Lulu’s flashback to 1950s New Orleans.http://www.youtube.com/watch?v=6P-xpXUpmDU. FilmThis is the pivotal scene of the opera, a fascinating piece of music.
There are 62 bars, written as a palindrome (this is one word, a musical phrase in this case, that reads the same forward than backwards). This is the central arpegio of the score:based mainly in 'Erdgeist' and 'Every man for himself'. We can hear the trumpets during Lulu's arrest, and then the fundamental row in the strings, with the laden atmosphere of protective custody. Again the trumpets (and the trombones), playing 'Erdgeist' during the trial.
We should Lulu's silhouette on the prison wall, just while hearing the central arpegio. The door of the cell opens, with a crescendo in the trumpets, enters Geschwitz. The transmission of cholera, in the strings and the trombones, then the hospital in the trumpets, using 'Every man for himself', and finally the escape of Lulu with a tutti of the metals.This brief instrumental page follows an implacable and impeccable logic, both from a musical and a dramatic viewpoint. And to get its whole power, needs the silent film being showed following Berg's indications.
Regrettably, this is something rather unusual today, with the stage directors using the opera for his own purposes, instead of the author's.OutlineArrest - Protective custody - Trial - Prison cell - Prison cell - Cholera - Hospital - Escapehttp://www.youtube.com/watch?v=WojFh0XLvHg.
As a young man, Bernstein met Mrs. Berg and was shown the house (presumably Waldhaus?) which had been maintained like something more than a museum. The clocks had been stopped at the time of his death, his shirts were displayed in a glass case and taken out to be washed every month and the death mask was prominently displayed.Bernstein asked Mrs. Berg if she would consider him for the task of completing Lulu. She said she would have to ask Alban. A little while later, she contacted him, telling him “Alban said no.”When I was looking for it on-line, I found: Bernstein had told this story to Frank Corsaro, a brilliant theater and opera director, who turned it into a play who then collaborated with Thomas Pasatieri to create an opera based on the story of Helene Berg.
They called it in which a student who had once been the late composer's mistress enters the household of the grieving widow to become her companion. It was possibly a way for both of them to work their way through the mourning process.
Berg Lulu Suite
You're correct: I'm not sure where I got the information, now (possibly some less-than-well-researched program notes), but when I checked Perle's book on 'Lulu' he says (on p.254) the concerto's premiere was conducted by Scherchen. The Wikipedia entry includes this, citing the soloist's recollections: 'Anton Webern was intended to be the conductor. Reports vary as to whether he was ill or was emotionally unable to cope with the subject matter of the music. In any case, Scherchen happened to be there for the Festival, and he was drafted at literally the 11th hour. The first time he ever saw the score was at 11 pm the night before the premiere, and the next morning there was time for only half an hour rehearsal.'
Berg Lulu Libretto Pdf Writer Pdf
Webern, however, conducted the London premiere with the BBC Symphony 11 days after the Barcelona performance, and a recording on acetate discs remained in Krasner's private collection, which was released as a CD on the Testament label in 1995. 'A piece that ten people care passionately about is worth more than a piece that 10,000 people don't mind listening to.' - Charles Rosen= = = = = = ='If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.'