Interviewed in the programme for last night’s Wozzeck at the Festival d'Aix-en-Provence, Sir Simon Rattle says that the famous orchestral interludes should be played “as if they were miniature Mahler symphonies, like musical bonsais”. For the last of those interludes, the “Invention on a key”, Rattle and the London Symphony Orchestra accomplished that mission in no uncertain terms, the swelling strings overwhelming with the emotions of everything that had gone before. Earlier, the climax that follows Marie’s murder was enormous, bone-shaking, filling the Grand Théâtre de Provence with the biggest wall of sound I can remember in an opera house.
But this was no blunderbuss of an orchestral performance. Wind players, especially at the low end of the register, provided tremendous subtlety; string solos tugged at our feelings, percussion continually added colour. The LSO did themselves proud by revealing Berg’s score in unparalleled levels of detail.
This production featured the same three male leads as Deborah Warner’s recent staging at Covent Garden: Christian Gerhaher in the title role, Brindley Sherratt as the Doctor and Peter Hoare as the Captain, all three once again demonstrating their excellent qualities. Gerhaher’s velvet baritone was delicious to listen to while conveying complete honesty and changing emotions by the bucketload as Wozzeck veers between normality and paranoia. Sherratt’s bass was strong, confident, sonorous. Hoare was even more effective than at Covent Garden, with a more percussive ring to the Captain’s manic outbursts. Malin Byström was a superb Marie vocally, the fundamental sweetness of her soprano interrupted by contrasting passages of heightened tension, harsher but always perfectly in tune and phrased.
Director Simon McBurney and set designer Miriam Buether use a setting that appears simple but is complex to execute. The stage is largely blank, with a set of concentric revolves which can rotate at different speeds and/or in different directions, giving a disturbing, surreal feel to the way the characters move. A single doorway, moved around the stage, allows for characters to move from one setting into another, either physical (entering or leaving Marie’s flat) or metaphorical. When a scene changes, McBurney’s direction and Paul Anderson’s clever lighting make the new scene appear out of nothing.