Editing Lulu (opera) (section)

==Roles==
{| class="wikitable"
|+{{sronly|Roles, voice types, premiere casts in Zürich, Paris}}
!Role{{sfn|UE|2015}}
![[Voice type]] or ''[[Fach]]''{{sfn|UE|2015}}
!|Zürich Opera premiere,{{sfn|Harewood|1987|loc=pp.&nbsp;873–878}}<br />2-act version,<br />2 June 1937<br />[[Conducting|Conductor]]: [[Robert Denzler]]
!Paris Opéra premiere,{{sfn|Harewood|1987|loc=pp.&nbsp;873–878}}{{sfn|DGG|1979}}<br />3-act version,<br />24 February 1979<br />Conductor: [[Pierre Boulez]]
|-
|Lulu, ''an adolescent former [[street child|street urchin]]''<ref name=Power2013>Power, Steph. 24 January 2013. The Wales Arts Review,[http://www.walesartsreview.org/alban-bergs-lulu-decadence-decay-and-myths-of-freedom/ "Alban Berg's ''Lulu'' Decadence, Decay and Myths of Freedom"]</ref>
|[[soprano|''Hoher Sopran'']]
|[[Bahrija Nuri Hadžić]]
|[[Teresa Stratas]]
|-
|Countess Martha Geschwitz
|[[mezzo-soprano|''Dramatischer Mezzosopran'']]
|Maria Bernhard
|[[Yvonne Minton]]
|-
|A theatrical dresser (''Eine Theater-Garderobiere'') (Act 1)<br> A schoolboy (''Ein Gymnasiast'') (Act 2)<br>Bob, A valet (''Ein Groom'') (Act 3)
|[[contralto|''Alt'']]
|Frida Kurz<br>Erika Feichtinger<br>–
|[[Hanna Schwarz]]
|-
|Walter Schwarz, an artist (''Der Maler''), ''Lulu's second husband'' (Act 1)<br>A negro (Act 3)
|[[tenor|''Lyrischer Tenor'']]
|Paul Feher<br>–
|[[Robert Tear]]
|-
|Dr. Ludwig Schön, (''Chefredakteur''), ''newspaper editor'' (Acts 1 & 2)<br>[[Jack the Ripper]] (Act 3)
|[[baritone|''Heldenbariton'']]
|Asger Stig<br>–
|[[Franz Mazura]]
|-
|Alwa, ''Dr. Schön's son, a composer''
|[[Heldentenor|''Jugendlicher Heldentenor'']]
|Peter Baxevanos
|[[Kenneth Riegel]]
|-
|Schigolch, ''an old man''
|[[Bass (voice type)|''Hoher Charakterbass'']]
|Fritz Honisch
|[[Toni Blankenheim]]
|-
|Doctor Goll (''Der Medizinalrat'' – Medical officer), ''Lulu's first husband''
|spoken
|Peter Poschl
|Toni Blankenheim
|-
|An animal tamer (''Tierbändiger'') (Prolog)<br>Rodrigo, (''Ein Athlet''), ''an Athlete''{{efn|Frequently referred to in English translations as "acrobat"}} (Acts 2 & 3)
|[[basso buffo|''Heldenbass mit Buffo-Einschlag'']]
|Albert Emmerich
|[[Gerd Nienstedt]]
|-
|The prince, ''a traveller in Africa'' /<br />The manservant /<br />The marquis
|''Tenor-Buffo''
|Oscar Mörwald<br />(role of Marquis not sung in 1937)
|[[Helmut Pampuch]]
|-
|The theatre manager
|''Bass-Buffo (tief)''
|Walter Frank
|[[Jules Bastin]]
|-
|The professor<br />A clown<br />A stagehand
|silent
|
|Le Nain Roberto
|-
|A fifteen-year-old girl
|[[soubrette|''Opernsoubrette'']]
|
|Daniele Chlostawa
|-
|Her mother
|''Alt''
|
|[[Ursula Boese]]
|-
|A woman artist
|''Mezzosopran''
|
|Anna Ringart
|-
|The Banker
|''Hoher Bass''
|
|Jules Bastin
|-
|A journalist
|''Hoher Bariton''
|
|[[Claude Méloni]]
|-
|The police commissioner
|spoken
|
|Toni Blankenheim
|-
|A manservant
|''Tiefer Bariton''
|
|Pierre-Yves Le Maigat
|-
| colspan="6" |''Pianist, stage manager, attendants of the prince, policemen, nurses, wardresses, dancers, party guests, servants, workers''
|}
Berg specified that a number of cast members should take more than one role. Thus, the singers of Lulu's three husbands return as her clients while a prostitute: one performer each appears as the Doctor and the Professor, as the Painter and the Negro, and as Dr. Schön and Jack the Ripper. Other specified combinations are one mezzo-soprano as the Dresser, the Schoolboy, and the Groom; one tenor as the Prince, the Manservant, and the Marquis; one bass as the Animal Tamer and the Athlete, and another bass as the Theatre Manager and the Banker. Another aspect of the cast list that differs from Wedekind's original is that all characters in the two plays receive a proper name. Berg removed these names except for the five leading roles of Lulu, Schön, Alwa, Geschwitz and Schigolch. Some of Wedekind's other names have sometimes been applied to Berg's characters; for example, the Athlete is often called "Rodrigo Quast", but this name is not in the score.

Berg perhaps modeled the Geschwitz role on his lesbian sister Smaragda, Dr. Schön on Arnold Schoenberg, the Painter on [[Richard Gerstl]], Schigolch on his wife Helene's biological father (perhaps [[Franz Joseph I of Austria]]), and Alwa on himself, among other semiautobiographical and allegorical elements, according to Olaf Winnecke. The physician Dr. Goll, as in ''Wozzeck'', may represent society.