• Silvio Josee Dos Santos

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Welcome to Opera Lively!

SANTAFE, N.M., July 29—The complete “Lulu” by Alban Berg has now come to the United States. Last night, the operas with its third‐act reconstruction by Friedrich Cerha, was staged by the Santa Fe Opera.It was about six months ago, on Feb. 29, that the Berg‐Cerha “Lulu” had its world premiere at the Paris Opera. At that time the amazing history of the work was discussed in the world press: how the composer left “Lulu” incomplete at his death in 1935, how his wife refused permission for the almost complete sketches of the final act to be reconstructed, and how unbeknownst to her Mr.

Cerha was working on the materials since 1962. Berg died in 1976 the scramble was on.

Every major opera house started bidding for the complete “Lulu.” The Paris,Opera won out, but Santa Fe got the second performance.Why Santa Fe? For one reason, it was John Crosby's Santa Fe Opera that staged the first “Lulu” in the United States in 1963.

For another, it seems that at Mrs. Berg's death, Mr. Crosby was the very first impresario to cable Universal Edition, Berg's. publishers, for rights to the first complete “Lulu” anywhere. Universal gave the world premiere to Paris, with its greater prestige and resources. But Universal also decided the first American staging would go to Mr.

Crosby.And so last night “Lulu” arrived, directed by Colin Graham, with set and costumes by John Conklin, and conducted by Michael Tilson Thomas. The opera was sung in an English translation by Arthur Jacobs. It could have been predicted in advance that, because of the nature of Berg's vocal settings, very little of the sung‐speech could be understood, and so it turned out. The dialogue, of course, was perfectly understandable. The old question of translated opera came alive again. Some gain in following, the plot was achieved, but was that worth the loss in musical quality, force and authenticity in this most Expressionistic of German Expressionistic opera? Translated opera, except under certain unavoidable circumstances, is so provincial.

It was otherwise an interesting production, marked by a good deal of solid accomplishment. The settings were based, loosely, on the original Santa Fe designs by the late Rudolf Heinrich. This was much more ambitious than the 1963 version, however. Conklin has created a unit set dominated by dark, textured side walls and elements that can be moved around in a combination of stylism and realism. Certainly the settings were infinitely closer to the composer's intentions than the weird concoction that Patrice Chereau dreamed up in Paris pour epater le bourgeoisie. The Bergian parallelisms were scrupulously observed, and the ambience of the early 1920's was handled much more faithfully than it was handled in Paris.

“Lulu,” more than almost any opera in history, rises or falls on its heroine. The character of Lulu can be interpreted any number of ways, and specialists constantly argue about who and what she is.

Berg, who wrote his own libretto from plays by Frank Wedekind, undoubtedly intended her as an archetypal figure. Yet there are inconsistencies in the libretto.

Lulu can be read as a Lilith type, or as an innocent who manages to destroy all who come into close contact with her, or as a femme fatale, or as a woman at odds with her times, or as the eternal feminine.But however Lulu is approached, she must exude a palpable aura — the equivalent kind of aura that Dietrich displayed in “The Blue Angel” or Garbo in “Camille,”. Juki pm 1 keygen 7. Louise Brooks as Lulu in the 1928 German silent film of the Wedekind plays.

Nancy Shade sang the title role last night. Her work was intelligent — but she did not have the aura. Part of the trouble was an inconsistency— on her part or the director's—in characterization. Sometimes she was a sex kitten, sometimes a pouting adolescent, sometimes a sadist, sometimes a hoyden, but never did she give the feeling she was a whole woman. It'may be true that Lulu is all things to all men, but one thing she must have, and that is an extraordinary kind of psychic force that accounts for the havoc she creates. On this criteria Miss Shade fails. Yet there have been much worse Lulus in the history of the opera.

Silvio Josee Dos Santos

Miss Shade disposed of the murderous vocal difficulties more efficiently than most sopranos who have attempted the role, and she had the looks and figure for the part. She was surrounded by a fine cast. The veteran William Dooley sang and acted a convincing Dr.

Barry Busse, a talented young tenor, sang clearly as Alwa and conveyed the essential weakness of the man. Andrew Fold', looking like a cross between Father Christmas and a werewolf, was brilliant as the mysterious Shigoich.Then there was Lenus Carlson, burly, blustering and slimy, who contributed strongly to the cast with a superb characterization of the Acrobat. Leo Goeke sang well as the Painter, and when he has the role thoroughly at his command he will be paying more attention to Lulu than to the conductor. Katherine Ciesinski, the Geshwitz, was a sensitive interpreter, catching more of the troubled quality of the Countess than most mezzos who have sung the role. Mention should be made, also, of the fine work of Joseph Frank as the Prince and the Marquis, and of Claudia Catania as the Student. It was a remarkably accomplished cast. As many Musicians as possible filled the pit.

More, unfortunately, were needed. “Lulu” is very grand opera, and a bigger string section was needed to give the score its fullest impact. Within those limitation, however, the orchestra played very well. The Santa Fe Opera did not stint in rehearsals, and the players had the notes well in hand. Thomas conducted a performance in which the emphasis was on clarity and integration.Later there will be more flexibility, as orchestra and singers get over the terrors of opening night. But that is not to take away from the real accomplishment of Mr. Thomas and his players.

The Santa Fe Opera, which has taken the lead on so many occasions since its inception in 1957, has once again demonstrated its enterprise, imagination and importance to opera in America.The High Level Ranters, a traditional folk‐music quartet from Newcastle, England, will appear in concert at the South Street Seaport Museum on Aug. 28 at 7:45 P.M.In addition to guitar, fiddle and con‐. Certina, the group accompanies its singing with the playing of pipes, bones and tin whistle.

Tickets are $4; TDF vouchers will be accepted. The museum is at Pier 15, Fulton Street and the East River.united Press International.