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.
A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.
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 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.
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.
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.
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.
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.
