It’s truly remarkable that a work composed in 1937 can still feel so ahead of its time. With Lulu, Alban Berg elevated atonality beyond the boundaries he explored in Wozzeck, shedding some—but not all—of the lingering vestiges of Romanticism found in the earlier opera. Yet, unlike many works by Schoenberg and Webern, Lulu retains a compelling lyricism that continues to draw some of the greatest singing actresses to the title role. Among them, Anja Silja stands out as perhaps its quintessential interpreter.

In the 1960s, Silja defied expectations by alternating between dramatic roles like Elektra and Isolde and coloratura repertoire. Her ability to seamlessly transition between Lulu’s high-flying, melismatic passages and its intense dramatic outbursts is nothing short of extraordinary. Beyond her vocal prowess, Silja’s artistry as an actress of the highest caliber brought unparalleled depth to the character.

Martha Mödl, though far beyond her vocal prime in this 1968 performance, imbues the role of Geschwitz with an aching pathos that only heightens the character's tragedy. The chemistry between Mödl and Silja in their scenes crackles with emotional intensity. Waldemar Kmentt delivers an excellent Alwa, while Hans Hotter strikes an uncanny balance between avuncular charm and unsettling menace as Schigolch.

Notably, this performance includes sketches of the then-unfinished Act III, giving Mödl the opportunity to deliver a poignant and gripping monologue.