The most luridly erotic of all opera heroines has yet to appear on any opera stage. Beside her, Shostakovich's Lady Macbeth of Mzensk would seem a rural innocent (TIME, Feb. 11). The adulterous Marie in Alban Berg's Wozzeck is a colorless nobody compared with Alban Berg's Lulu, a symbol of insatiability conceived in the tortured mind of Playwright Frank Wedekind (Erdgeist, Die Büchse der Pandora). Sooner or later Lulu is bound to make her operatic appearance because of Composer Berg's reputation, the power of his music. Orchestral excerpts from Lulu have been played...
To continue reading:
or
Log-In
