---
product_id: 7841240
title: "Berg: Lulu [Blu-ray]"
brand: "patricia petibonmichael boder"
price: "$168863"
currency: COP
in_stock: true
reviews_count: 7
url: https://www.desertcart.co/products/7841240-berg-lulu-blu-ray
store_origin: CO
region: Colombia
---

# Berg: Lulu [Blu-ray]

**Brand:** patricia petibonmichael boder
**Price:** $168863
**Availability:** ✅ In Stock

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- **What is this?** Berg: Lulu [Blu-ray] by patricia petibonmichael boder
- **How much does it cost?** $168863 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.co](https://www.desertcart.co/products/7841240-berg-lulu-blu-ray)

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## Description

Patricia Petibon, Franz Grundheber, and Julia Juon star in this 2010 Gran Teatre Del Liceu, Barcelona production of the Berg opera conducted by Michael Boder and directed by Olivier Py.

## Images

![Berg: Lulu [Blu-ray] - Image 1](https://m.media-amazon.com/images/I/51RsXDG0RML.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Matti Salminen! Matti Salminen!
  

*by C***R on Reviewed in the United States on September 5, 2006*

You may have guessed from my headline that I am a HUGE Matti Salminen fan. With his powerful voice, his imposing stage presence, his unique and expressive countenance, and with his emotional range and depth, he is one of the premiere basses of our time, and the role of the tortured Boris is perfect for him. In this performance, Salminen doesn't shirk in presenting a single facet of the character, he is royal, arrogant, but also paternal, and, most importantly, haunted by his bloody past. The voice is strong when it needs to be, yet passive and wavering during moments of weakness. Salminen's performance is the main, albeit not the only, reason to purchase this disc.The cast is uniformly excellent. Boris Godunov has an epic sweep, consequently it features a huge cast of characters, so I won't bother going into every single performance. Here are a few of the highlights. Eric Halfvarson, another bass who, in fact, sings many of the same roles as Salminen(he even looks a little like him) is Pimen, as haunted as Boris by the murder of the young Tsar-in-waiting several years ago, an event he witnessed. Halfvarson makes the aging monk humble and worldly, as he should be, and his dark voice adds dimension to the character. Par Lindskog and Philip Langridge are the two major tenor roles, presenting a contrast, a young ardent voice versus a mature, more craggy tenor that is still exceptional, both are in fine voice here. Boris' children are sung by a soprano and a countertenor, and both sing beautifully, with unrestrained lyricism. The acting by all involved matches the singing. The Orchestra of the Gran Teatre del Liceau in Barcelona, under Sebastian Weigle, sounds grand, polished, it never upstages the voices. Musically speaking, this is a phenomenal performance.Willy Decker's good-looking modernist production is stark and spare, it has some interesting moments, but it is also, quite frequently, repetitive and even prosaic. For instance, power is represented by the recurring image of a giant golden throne, toppled at first, then raised to a more erect stature. This is a pretty obvious image, and it gets downright silly when characters start climbing up this mammoth prop like Jack in the beanstalk. The memory of the murdered child takes the form of a sizable photograph of a closeup of his face, carried around by various characters, multiplying into the thousands as Boris' dementia grows more severe, more paranoid, until I finally had to say, "Enough is enough, we get the point already!" Having Prince Vassily carrying around a crown throughout the proceedings becomes tiresome as well, I'm not sure what this is supposed to mean, his hunger for the throne, or does it imply that Boris is a mere figurehead while he is the real source of power? Finally, having characters in an historical setting running around in contemporary business suits is a lazy, overdone practice these days, it stopped being clever a long time ago, I'm beginning to think that these opera houses are just too cheap to buy period costumes(the day they do an Aida in business suits is the day I throw up my hands and surrender!). Overall, the production, because it is so dark and minimalistic, rarely distracts from the performances, but it could have been much, much more potent, creative and thought-provoking. Still, it is serviceable, which inspires me to upgrade my rating to four-and-a-half stars, since everything else about this disc is so good.For the record, this is Mussorgsky's original version of the opera. It has been a long time since I saw the revised version, but based on what I remember, I think I like this version better. Apparently, this edition was considered, musically, to be too rough-around-the-edges at the time it was composed, but this doesn't bother me, genius is seldom perfect, and neither the emotion nor the drama are shortchanged one iota. Besides, I seem to recall the alternate Boris being somewhat draggy at times, whereas this one is one of the fastest-moving operas I have ever seen, at two-and-a-half hours it is over before you know it.

### ⭐⭐⭐⭐ 







  
  
    A Lulu for the ages
  

*by D***R on Reviewed in the United States on September 4, 2014*

Hard to rate.  I love Wozzeck, but Lulu is not an easy opera to like. It's not just that the music is far from tuneful (12 tone in part as I recall), but it's hard to have sympathy with any of the characters. You can't really like Lulu or even feel sorry for her, and the others are mostly equally unlikeable. I was fascinated during the 1st act, a bit distracted in the 2nd, and frankly not all that attentive in the 3rd. Indeed I later watched the last act all by itself just to finish off the experience faithfully.The sets are garish, really over the top and the costumes fit right in. But actually that's one of the things I most liked about this performance. It is visually riveting, and I often wished I could see the whole set during more focused shots. There's a lot going on all the time, and it's a close call as to whether all the activity in the background or the main characters (mostly Lulu) should be the focus. Probably the person who filmed it did a reasonable job -- just once in a while I wanted to see what wasn't being featured.  Lots of allusions to god knows what. The opera was written (only Acts I and II) in the late 1930s and generally although the time frame is somewhat jumbled mostly it seems to take place in late 1920s and 1930s all over Europe. This was not Europe's finest hour, and the performance  captures quite well the vulgarity of the opera and the times. For those who care, there is some simulated nudity and an out of focus porno movie in the background at one point.The other feature that makes this performance outstanding is Patricia Petibon. She is a Lulu for the ages. She's pretty enough to be convincing as a person who basically used her body to get ahead, and the vocal (and bodily) acting is extraordinary. I'm not in position to comment on her vocal accuracy, but then who cares? She's on stage most of the time, and she's always fascinating. Really one of the most interesting and fascinating portrayals in opera.As I said a hard opera to rate, and frankly to like, hence 4 stars. I bought the DVD because none of the libraries available to me had it. I had seen the first 2 acts many years ago before the opera was finished by others, and wasn't sure whether I liked it or not. Recordings can't possibly do it justice and the two I own don't. Not sorry I bought it, but I'm not likely to watch it again soon. That said, it's hard to imagine a better performance, and for those who love the opera more than I do a visual and vocal treat. .

### ⭐⭐⭐⭐⭐ 







  
    Radikale Darstellung einer Ausnahmesängerin
  
  

*by K***Z on Reviewed in Germany on December 26, 2021*

Patricia Petibon, die ihre Figuren und Rollen nicht aufführt, sondern sie mit einem Höchstmaß an Verinnerlichung lebt, gibt eine radikale Interpretation der LULU, in der sie an die Grenzen des auf einer Opernbühne Darstellbaren geht. Stimmlich ist diese Sängerin sowieso eine Klasse für sich, was Ausdruck und Technik anbelangt. Gelegentlich wird die Textverständlichkeit bemängelt, dies ist absolut zu vernachlässigen, besonders vor dem Hintergrund einer außergewöhnlichen Interpretation in einer drastischen z.T. schrillen Inszenierung, die nicht besser besetzt sein könnte.

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*Product available on Desertcart Colombia*
*Store origin: CO*
*Last updated: 2026-01-25*