Wozzeck - Premiere - Schedule, Program & Tickets
Wozzeck - Premiere
musical direction
Philippe Jordan
Staging
Simon Stone
stage
Bob cousins
Costumes
Alice Babidge
light
James Farncombe
Wozzeck
Christian Gerhaher
Drum major
Sean Panikkar
Captain
Jörg Schneider
doctor
Dmitry Belosselskiy
Marie
Anja Kampe
Alban Bergs Wozzeck tells the story of a tormented creature who, beset by visions and fears, laughed at and tormented by society, is driven out of its existence. Until the final catastrophe occurs: The desperate man murders his beloved and finds death in the water. Berg's scale-setting opera is based on a fragment of the drama by Georg Büchner (1836/7), in which the latter describes the hopelessness of people in the face of the circumstances that determine them: A simple soldier becomes the victim of the pathological malice of his fellow men, has to submit to social hardship, goes in Madness is lost and also fails because of the infidelity of the mother of his child.
When Berg saw the play at a theater performance in Vienna in 1914, he quickly made the decision to set the oppressive material to music. The work - interrupted, among other things, by the First World War - dragged on, however. It was not until 1925 that Wozzeck was premiered in Berlin under Erich Kleiber, and five years later it was premiered at the Vienna State Opera under Clemens Krauss. The work quickly developed into a repertoire piece (until it was banned by the National Socialists). The fact that Wozzeck was included in the premiere cycle of the reopening of the Vienna State Opera in 1955 underscores the exceptional character of this work. Or, as the contemporary composer Wolfgang Rihm once said: "An opera of the century!"
Wozzeck is considered to be the first great, completely atonal opera. In a time of musical upheaval, it can be understood as a pioneering work in musical theater that challenged the performers and seduced the audience to a renewed hearing and understanding. In his Wozzeck, Berg spans a close-knit network of historical references and formal models from the Baroque to the late Romantic period, full of nuanced chamber music subtleties, in the context of an immediately gripping and disturbing, highly expressive sound language that also includes a highly differentiated treatment of singing voices. All of this not to explore new paths for the sake of new paths, but to put Büchner's drama into music as precisely as possible. Wozzeck is a symbiosis of psychological analysis, social outcry and highly personal artistic expression: the "first model of a music of real humanism," as Adorno put it.
Subject to changes.
Philippe Jordan
Staging
Simon Stone
stage
Bob cousins
Costumes
Alice Babidge
light
James Farncombe
Wozzeck
Christian Gerhaher
Drum major
Sean Panikkar
Captain
Jörg Schneider
doctor
Dmitry Belosselskiy
Marie
Anja Kampe
Alban Bergs Wozzeck tells the story of a tormented creature who, beset by visions and fears, laughed at and tormented by society, is driven out of its existence. Until the final catastrophe occurs: The desperate man murders his beloved and finds death in the water. Berg's scale-setting opera is based on a fragment of the drama by Georg Büchner (1836/7), in which the latter describes the hopelessness of people in the face of the circumstances that determine them: A simple soldier becomes the victim of the pathological malice of his fellow men, has to submit to social hardship, goes in Madness is lost and also fails because of the infidelity of the mother of his child.
When Berg saw the play at a theater performance in Vienna in 1914, he quickly made the decision to set the oppressive material to music. The work - interrupted, among other things, by the First World War - dragged on, however. It was not until 1925 that Wozzeck was premiered in Berlin under Erich Kleiber, and five years later it was premiered at the Vienna State Opera under Clemens Krauss. The work quickly developed into a repertoire piece (until it was banned by the National Socialists). The fact that Wozzeck was included in the premiere cycle of the reopening of the Vienna State Opera in 1955 underscores the exceptional character of this work. Or, as the contemporary composer Wolfgang Rihm once said: "An opera of the century!"
Wozzeck is considered to be the first great, completely atonal opera. In a time of musical upheaval, it can be understood as a pioneering work in musical theater that challenged the performers and seduced the audience to a renewed hearing and understanding. In his Wozzeck, Berg spans a close-knit network of historical references and formal models from the Baroque to the late Romantic period, full of nuanced chamber music subtleties, in the context of an immediately gripping and disturbing, highly expressive sound language that also includes a highly differentiated treatment of singing voices. All of this not to explore new paths for the sake of new paths, but to put Büchner's drama into music as precisely as possible. Wozzeck is a symbiosis of psychological analysis, social outcry and highly personal artistic expression: the "first model of a music of real humanism," as Adorno put it.
Subject to changes.
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