Composer/libretto: Alban Berg . At: Lyric Opera of Chicago, 20 N. Wacker. Phone: 312-332-2244; $32-$197. Runs through Nov. 30
The last time the Lyric Opera of Chicago produced Alban Berg's racy opera Lulu was in 1987, not long after a major stock market crash. Now Lulu is plying her trade again in the Windy City amid another unsettling economic crisis. Coincidence, or some kind of curse?
No doubt some diehard opera fans ( the ones who can't tolerate 20th-century works ) will gladly point to a curse to discourage more 12-tone operas. But oddly enough, the tough financial times only enhances the brutal power of Lulu. The fact that Lulu's desperate characters are also ruined by an economic meltdown brings the opera much closer to home.
The Lyric's new Lulu production, under Scottish director Paul Curran and conductor Sir Andrew Davis, has enough dramatic and musical plusses to make it a must-see. That's despite a weak central performance and a series of severely raked and white Corbusier-like set designs by Kevin Knight. The sets are clever, but arguably clash with the music's overall dark tone.
Curran frames Lulu in the 1930s and draws from German expressionistic film for the prologue and the famed Act II film sequence. Otherwise, Curran makes the drama involving by playing things fairly naturalistically with plenty of sexual tension and a surprising dose of boulevard comedy ( particularly when Lulu juggles her many extramarital suitors at home ) .
The Lyric is truly blessed with German soprano Marlis Petersen in the title role. A veteran of many Lulus, Petersen has what it takes to be a confounding obsessive object of desire with her limber legs and seductive high soprano.
Another Lulu veteran is Wolfgang Schöne in the dual roles of Dr. Schön and Jack the Ripper. Oddly enough, Schöne's acting take on the morally corrupt newspaper publisher is disappointingly wooden and weak. Schöne needs to show more anger and outrage at his forced renunciation of his fiancée to punch up the drama.
Otherwise, the rest of the ensemble is particularly good vocally and dramatically at showing how their characters allow Lulu's sexual prowess to drive them bonkers.
William Burden makes an ardent Alwa, the composer who falls for Lulu even after she killed his father. Jill Grove is also great as the lesbian Countess Geschwitz, who tragically gives her all to Lulu only to be used and rebuffed by her.
More vivid characterizations come from Jan Buchwald as the Athlete/Animal tamer, Scott Ramsay as the Painter/Sailor, Thomas Hammons as the pimp/father figure Schigolch and Rodell Rosel as the Prince/Manservant/Marquis.
Though some operagoers might be frightened away by its difficult score, the Lyric's Lulu has enough dramatic tension and daring performances to make it truly gripping and compelling theater. Just don't mention any economic curses and all will be fine.