Find classical music concert, opera, ballet and dance reviews | Greta Goiris

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.

The child-woman Lulu is a reflective receptacle for desire in Dutch National Opera’s extraordinary filmic production.

Si le Teatro all’Opera de Rome a souvent fait preuve de conformisme par le passé, l’audace des productions de la saison 2016/2017 lui redonne un nouveau souffle. Après une Maria Stuarda magnifique c’est au tour de Lulu, chef-d’œuvre d’Alban Berg qui n’avait pas été donné à Rome depuis 1968, d’occuper la scène du Teatro dell’Opera.