Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Wozzeck

Christian Gerhaher gibt sein Münchener Wozzeck-Debüt in Kriegenburgs zeitlos packender Inszenierung.

Es ist eine geschickt konstruierte Produktion und eine, die mit unseren Sichtweisen spielt. Ob die Bilder Rückblicke eines vom Krieg gezeichneten Wozzecks oder an Büchner erinnernde Omen der drohenden Schrecken sind, bleibt dem Publikum überlassen.

Musik und Szene kommen in Christof Loys Deutung von Alban Bergs Wozzeck in Frankfurt zu einer perfekten Übereinstimmung, wodurch die Aufführung große emotionale Ausstrahlung gewinnt.

Die Handlung dreht sich um das tägliche Leben in einer einfachen deutschen Stadt. Doch bei dieser Produktion wird man sich freuen, dass die Geschichte nicht die eigene ist.

Despite theatrical drawbacks, this Wozzeck is heartily recommend due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.

Without glitz, extravagance or the need to be expressly shocking, Robert Carsen's new production of Wozzeck at the Theater an der Wien is exceptional.

Stéphane Lissner, en souhaitant honorer la musique chère à Boulez a eu raison de vouloir rappeler que le mésestimé Wozzeck demeure une œuvre musicale majeure de ce début de XXème siècle, ainsi qu’un mythe littéraire et politique vibrant d’actualité.

Clarity and mounting horror in the orchestra pit, the full truth and ugliness of the human condition onstage. Dutch National Opera’s new production of Wozzeck is stomach-churning for all the right reasons.

A strong, compelling staging – coherent in aesthetic and philosophy, if a little restrained in performance. 

A mesmerising Wozzeck, thanks to the trampled dignity of Florian Boesch’s antihero, Asmik Grigorian’s gloriously sung Marie, and a thrillingly savage Netherlands Radio Philharmonic.

A rotating set and a plethora of visual distractions can't ultimately detract from what proves a musically satisfying production of Berg's operatic masterpiece.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

Bringing out the unabashed colour and detail of the score, Andrew Davis delivered a superb reading in the pit, tightly coherent and with exemplary attentiveness to articulation. 

Matthias Goerne steps in for Thomas Hampson and electrifies James Levine's Wozzeck at the Metropolitan Opera. 

Director Keith Warner's Royal Opera production of Berg's Wozzeck makes a truly cathartic experience that fully deserved the long ovation it received, with strong performances from Simoin Keenlyside and Karita Mattila.

Military service brutalises. If you’re in any doubt about this, Berg’s short opera Wozzeck should dispel them, and particularly so in Carrie Cracknell’s new production for ENO.

Those closing bars of Alban Berg’s Wozzeck, tottering away into nothingness, is one of the great nexus points in musical history.

The plight of the introvert, stigmatised by society despite the many benefits of their contemplative natures and inner strength, is an important part of the contemporary Zeitgeist, but it is in fact nothing new.