Based on the production that received its Met premiere in 1977, this video makes available John Dexter’s classic presentation of Berg’s opera that James Levine conductor over three decades ago. The Met’s production was a major event because the three-act version of Berg’s score was still new, with houses vying to program it. Even though the opera received a number of fine productions since then, this production of the Met’s Lulu remains a strong and insightful performance, which Levine led masterfully.

Dexter’s staging offers a conventional approach to this unconventional opera, with wonderfully detailed interiors that give a sense of realism to this extraordinary score. While various obvious places in the video do not disclose the fact that this is a filmed opera rather than an opera conceived as a film, the direction gives a sense of intimacy which allows the viewers to observe the work from a closer perspective than if they were in the audience. It is a credit to the sensitivity of the production staff involved with the film that they were able to convey the interactions well, as in the finale scene of Act 2. Yet the film also gives a sense of this specific production with its closeups of Levine conducting from the pit, especially in the orchestral numbers that are part of Berg’s score.

One element unique to this production is the setting of the film music ingeniously. With its use of stills which resemble Manga, the section has a timeless quality which fits well into the live action used for the rest of the film. The sepia-tone images and art-deco are entirely appropriate to the production, with a good sense of cinematic continuity.

The cast was outstanding in its days and their efforts remain laudable. Julia Migenes, perhaps known best for her depiction of Carmen in the film of the opera, is a solid, convincing Lulu. In this role Migenes combines her strong acting abilities with her command of the role. Her coquettish behavior in the first act gives way to an increasingly manipulative persona, which Migenes also expresses well vocally. The penultimate scene in the third act gives a fine sense of how Migenes handles this complex role.

As Countess Geschwitz, Evelyn Lear gives a classic performance which merits attention for the details she brings to its performance. Lear’s Geschwitz is appealing for the dimensions it offers, as both a foil for some aspects of Lulu and as an individual with a compelling presence. Lear offers a Geschwitz with consummate style, which fits well into the production, especially in her impassioned final scene. Likewise, Kenneth Riegel’s Alwa is memorable for the musical and dramatic depth it offers. Riegel’s supple voice works well in this production, where his voice is neither lost in the full orchestral sound nor harsh in the more dramatic passages of the role.

The casting is evenly strong, with both the solo passages and ensembles well executed. The opening scene of the third act offers a brilliant rendering of the cocktail party depicted in the libretto, with the solo voices intersecting the ensemble and orchestra with appropriate style. Frank Mazura gives a strong performance in the dual role of Dr. Schön and Jack the Ripper, as does Andrew Foldi as Schigolch. These and the entire cast work well under Levine’s leadership, which shaped this performance from start to finish.

It is difficult to fault this classic performance of Lulu, except for some aspects that are out of the control of the Met. The color was fine for television in 1980, but it seems faded, even in this well-produced DVD. The sound is rendered well, but suffers at times from the necessary placement of microphones for the broadcast. While not a major obstacle, such details serve as reminders that this is a television broadcast, not a studio recording of the opera. Thus, the subtitles are entirely in English, as would occur in a broadcast. Yet it would be useful to have the original German text as an option for the subtitles.

With several productions of Lulu available on DVD, this one is a solid choice. Dramatically and musically compelling, this performance has much to recommend. The sensuality implicit in the score is not overtly depicted, and so the parental warnings that occur with other releases of this opera are absent from this video. More than that, this performance has historic significance for being part of the production that introduced the Met’s audiences to Berg’s famous opera.

Jim Zychowicz