The major scenes of province who had the courage to dare a production of the "Lulu" of Alban Berg count on the fingers of a hand: Nantes opened fire, and Toulouse. Today, it is the turn of the Opera of the Rhine, who succeeds his bet. Andreas Baesler was only half satisfied with a "Tristan and Isolde" at the Opéra de Nancy. The constraints of "Lulu" inspired him more. It is true that it is difficult to depart from the plot, that it does not seek to do. On the contrary, it follows very linear manner, wishing that it remains always readable, without however falling in a first reducing degree. It all begins in a morgue: walls tiled dirty Green is not synonymous with hope, claims drawers where the corpses are kept. See here nothing shocking, planing death constantly on Opera. Ubiquitous, the décor of Andreas Wilkens will be partially covered with a curtain, grey for the apartment of the painter, or red blood, such as a stage curtain, when the théâtreuse tries his luck on the stage. Because here even death is a spectacle. The drawers will also support a "picture-puzzle" of heroin, which the various pieces to crumble, the fate of fate caregiver. To return to the original image sordid and ice. But it said that, like a Phoenix, Lulu will resume from the ashes in a disturbing return Lord.
An exceptional troupe
Child woman, woman fatal, murderous, prostitute, Lulu is all of this. At the same time that carry a time to another costume and accessories, it passes through the 20th century, Brown wig to Louise Brooks (Pabst film remains an absolute reference), blonde plugs to Jean Harlow, rousse and capped to punk, always as amoral and seductive, personification of an irrepressible desire. Melanie Walz embodies it ideally, silhouette slender, thin, light and sensual, on which the time is not taken and that we can imagine without penalty in erotic symbol. The voice, however, is small, a no strident, and does pass not always well ramp, even if, as the evening progresses, it tends to open up and better project. Around her, with an exceptional troupe, a gallery of portraits that a careful direction of actors helps typer. Eric Huchet, tormented painter maneuvered to suicide, the good old Franz Mazura (eighties, apparently), once Dr. Schön in the Parisian directed by Patrice Chéreau, here Schigolch, one led by Lulu to debauchery. Schön returned to Dale Duesing, impetuous actor who brings to the role his energy, and also camping Jack the Glaciaires, which will have the skin of the young woman. While his son, Alwa, played by Fabrice Dalis, let devour without hope. Hedwig Fassbender, outstanding maintenance, voice, is a Countess Geschwitz moving and sober, undermined by his éperdu love for Lulu. As musical performance, we admire the actors.
Günther Neuhold already ran the Toulouse production in 2003. The Strasbourg Philharmonic, he gets a sound dough soft and ductile, gradients of color, tone on your refined. Who said that the music of Berg was dry and without lyricism Neuhold proves the contrary. His speech had to be clear, because the partition is bushy, especially when it is given, as it must, in its version in three acts by Friedrich Cerha. Its direction is from those who can make a work whose access requires a real effort but that the listener on the defensive can only succumb to love.