Lulu

Berg had several early ideas for a text for his second opera, and his choice finally fell on Frank Wedekind’s plays Earth Spirit and Pandora’s Box. Berg adapted the plays into a single three-act structure and made other changes in the names of characters and their attributes, and he titled his opera Lulu, after the central figure. The subject matter of the opera was highly controversial, with a perverse eroticism and sordid violence. Given the political climate of the early 1930s, prospects for a performance of the work were dim. The chronology by which Berg created the libretto for Lulu and its music reveals many delays that suggest a struggle on the composer’s part in grappling with the subject and with his relatively new twelve-tone method of composing. Berg completed the basic compositional work for the opera in spring 1934, and he then created a concert suite from the work, much as he had done with Wozzeck, which he titled Symphonic Pieces from the Opera “Lulu.” The necessary revisions to the opera that Berg foresaw and most of the orchestration of Act 3 remained incomplete at the time of his death in December 1935, and the opera was performed in its entirety only in 1979. In Lulu Berg fully developed his own distinctive twelve-tone method of composing but continued to invoke traditional musical forms.