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Peter J. Rabinowitz
Fanfare, May 2018

Petersen, of course, was one of the world’s premiere Lulus until she abandoned the part a few years back—so her vocal beauty and control, her intensity, and her psychological insights are no surprise. She may not be quite as riveting as she is on Kentridge’s Metropolitan Opera production later in 2015, perhaps because she went into that production knowing it was to be her last, perhaps because, as North puts it, Tcherniakov’s “direction seems to limit her temperament.” But by mortal standards, her singing in this Munich production is sensational. Bo Skovhus turns out to be an excellent Schön, too, one whose strength and conviction—and ultimate collapse—serve as ample testimony to Lulu’s strength. Matthias Klink makes the most of the floridity of Alwa’s part. As for Schigolch: The role is often given to Wotans past their prime, who can cough their way through the score; Pavlo Hunka actually manages to sing the part, and gives the character surprising resilience.

Kirill Petrenko conducts with exceptional rhythmic acuity and timbral luminosity: listening to this performance, it’s hard to understand why the music was once considered so forbidding. © 2018 Fanfare Read complete review



Robert Cummings
Classical Net, April 2018

…what ultimately makes this an outstanding performance is the portrayal of Lulu by German soprano Marlis Petersen. She is simply stunning in the role: she is a very sexy and very pathetic Lulu, and that combination works just fine here. Has anyone ever portrayed the character more effectively? She has done Lulu more than ninety times over the last two decades, and in ten different productions, including at the Met and other major venues. Arguably, she knows the character and music of Lulu as well as or better than any other soprano who’s ever sung this challenging role. When you watch and listen to Ms. Petersen you sit in awe of her considerable vocal talents, her acting skills and camera presence, her intensity, her sleek and graceful movements, and her confidence in having a total grasp of the happenings on stage.

Bo Skovhus is excellent in the roles of Dr. Schön and Jack the Ripper, and Daniela Sindram as Countess Geschwitz and Pavlo Hunka as Schigolch are also very effective. The remainder of the cast is quite impressive too. Kirill Petrenko draws spirited performances from the Bavarian State Orchestra. © 2018 Classical Net Read complete review



Kevin Filipski
The Flip Side, November 2017

The anti-heroine of Alban Berg’s unfinished opera has as its best and most prominent assayer German soprano Marlis Petersen, who gives Dmitri Tcherniakov’s tricked-out, fitfully pointed 2015 Munich staging its dramatic and musical allure. Petersen does no wrong, whether splayed half-naked on the floor or being ruthlessly abused before running into Jack the Ripper. Kirill Petrenko conducts the Bavarian State Opera Orchestra in an incisive reading of Berg’s masterly score. The hi-def video and audio are first-rate. © 2017 The Flip Side



Peter Quantrill
Gramophone, November 2017

BERG, A.: Lulu [Opera] (Bavarian State Opera, 2015) (NTSC) BAC129
BERG, A.: Lulu [Opera] (Bavarian State Opera, 2015) (Blu-ray) BAC429

Alwa is reduced to an ardent but incidental figure, and sung by Matthias Klink as a Lieder-tenor out of his depth; Rainer Trost’s Painter is similarly anonymous, and Pavlo Hunka’s Schigolch was a much more positively sinister presence in Krysztof Warlikowski’s production for the Théâtre de la Monnaie. Sung with admirable security and nobility of presence by Daniela Sindram, Countess Geschwitz gets an especially rough ride from Tcherniakov, possibly reflecting the composer’s own horrified incomprehension of his sister’s homosexuality as a mental illness. © 2017 Gramophone Read complete review on Gramophone





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