Film / operafilm

Wozzeck


Reviews (27)


Klassisk

2012, nr. 27

By

By

Andrew Mellor

2012, nr. 27

"Instruktør Tcherniakov lykkes at få hovedpersonen til at virke skræmmende normal: en person som en af os omgivet af idioter og fanget i et kommercielt undertrykkende samfund ... Det matches af George Nigl, der spiller Wozzeck i denne opsætning. Hans skildring er fysisk levende og imponerende detaljeret, og han synger med en gennemgåede skønhed ... Currentzis leverer også en spændende vision af partituret ... Der er ingen svage led blandt sangerne ... Ikke til at komme uden om, hvis man foretrækker sin opera teatralsk, kraftfuld og relevant".


Classics today

d. 16. Nov. 2007

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By

Robert Levine (musikanmelder)

d. 16. Nov. 2007

"This version is startling in its unpleasantness, and as such becomes a work of art, albeit a work hard to come to terms with. Perhaps it's a misreading - maybe Bieito is telling us that our environment can make us insane, and that isn't quite Berg's point. But it is ferocious in its persuasiveness, the opera is superbly served musically, and you won't forget it".


MusicWeb international

2019 January

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By

Stephen Barber (musikanmelder)

2019 January

"Musically this production is excellent. The cast is nearly all first-rate. Christopher Maltman in the title role has a rich and fruity voice. He really sings the part and makes the character sympathetic ... Eva-Maria Westbroek ... has a really thought-out interpretation of Marie ... a shallow character but this is not a shallow interpretation of her ... The chorus does not have a great deal to do but is confident and secure ... The staging is surprising. There is basically only one set, which has to serve both for the indoor scenes and those in the forest or the pub ... But there is more. Before the opera proper begins there is a scene lasting seven minutes involving child dancers, with a waltz and a rock number (neither by Berg) ... There are several other DVDs of Wozzeck available. I remember the Abbado version being at least as well sung as this one and offering staging much more faithful to Berg's intentions".


Politiken

d. 4. Dec. 2007

By

By

Jan Jacoby

d. 4. Dec. 2007


Politiken

d. 4. Dec. 2007

By

By

Jan Jacoby

d. 4. Dec. 2007

"I Barcelona dominerer Bieitos ego. Provokation er hans varemærke, og forestillingen er fortænkt og vulgært overstyret ... ulideligt i længden, skønt hovedrollerne talentfuldt benytter alle sprækker til at menneskeliggøre deres figurer. Det er nemlig en håndplukket besætning, der langt ud i de mindre partier gør lysende klart og nuanceret rede for musikkens melodiske kvaliteter og den udtryksfulde Sprechgesang. Wozzeck og Marie er direkte gribende. Og med dramatisk sans og fornemme detaljer læser Weigle forbilledlig klart linjer, farver og stemninger".


Classical music

2016 November

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By

Guy Weatherall

2016 November

"Vurdering: Editor's choice" - "British audiences lucky enough to see a concert performance last year ... will find Homoki's stark, stylished production engrossing, with chalked faces, exaggerated costumes and a sinister puppet boy. Gerhaher completely inhabits the title role, darkening his magnificent voice when necessary ... Barkmin looks and sounds perfect as Marie ... Luisi's pacing, balance and energy are spot-on. Essential viewing".


Diapason

2016 octobre

By

By

Emmanuel Dupuy

2016 octobre


BBC music magazine

2016 Christmas

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By

Anna Picard

2016 Christmas

"While the Lieder-like beauty of Gerhaher's singing is matchless - he can act too - this is no star vehicle. It is ensemble work of the highest order ... The relationships are brilliantly drawn, and the murder of Marie is more shocking for its surrealism. The string and woodwind solos are incisive, and the blossoming of the orchestral interludes as directed by Luisi is almost indecently lovely".


BBC music magazine

2013 February

By

By

Erik Levi

2013 February

"Much credit for this significant revival [in Russia after the demise of the Soviet regime] must be given to Teodor Currentzis, whose committed conducting inspires the Bolshoi Theatre Orchestra to deliver an urgent account of the score ... But Tcherniakov's decision to ignore the opera's social message, in particular Wozzeck's straitened existence, wreaks havoc with Berg's libretto".


Diapason

2012 novembre

By

By

Benoît Fauchet

2012 novembre


Klassisk

2019, nr. 53

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By

Steen Chr. Steensen

2019, nr. 53

"Efter godt halvanden time konfronteret med Den Hollandske Nationaloperas udgave af Alban Bergs 'Wozzeck' sidder jeg rystet tilbage. Sjældent har en operaopsætning gjort så dybt et indtryk. Den polske iscenesætter Krzysztof Warlikowski er suveræn professionel, virtuos i sine sceniske virkemidler ... Christopher Maltman som hovedpersonen ... har en baryton, der klangligt kan karakterisere hver eneste nuance. Rundt om ham et persongalleri af sære individer ... Eva-Marie Westbroek synger sig ekspressivt udover det smukke i rollen som Marie ... Det Nederlandske Filharmoniske Orkester under ledelse af Marc Albrecht videregiver Alban Bergs partitur med respekt for balancen mellem den store ekspressivitet og arkitektoniske klarhed".


Operabladet Ascolta

(2019) 37. årgang nr. 6

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By

Henrik Marcussen

(2019) 37. årgang nr. 6

"Det er en opera med referencer og associationer, der ikke er lige gennemskuelige ... Et stilrent men grum realistisk og samtidig medlevende fortalt drama i vid grad set med børnenes øjne omend oftest indirekte og gennem glasvægge og vinduer. Alle viser sig her med fremragende sceniske og musiske karakterer. Maltman med et rigt dimensioneret portræt ... Westbroek med ligeværdig fuld power til orkestret og varme følelser overfor søn og mand ... En barsk verden og forvredne følelser stilles her til skue, men understøttes formildende af Marc Albrecht og hans hollandske filharmonikere med skarpskåren intensistet og musikalsk lyrisk skønhed. En grum men medfølende Wozzeck, kunstnerisk i top og dertil fremragende også vurderet som teknisk og musikalsk dokument".


Diapason

2018 octobre

By

By

Emmanuel Dupuy

2018 octobre


BBC music magazine

2018 November

By

By

Malcolm Hayes

2018 November

"[Goerne] gives a masterly portrayal of a simple man whose life is destroyed by things he can do nothing about ... Grigorian's Marie offers a similar masterclass in how to truly sing her role, avoiding cod-expressionist yowling while delivering superlative acting ... The Vienna Philharmonic plays for Vladimir Jurowski with a lustrous clarity that some might find too sumptuous for such a bleak work. A different viewpoint (shared by me) would be that Bern, a true son of Vienna, grew up with this kind of orchestral sound, to which his score was a ground-breaking modernist tribute".


Operabladet Ascolta

(2006) 25. årgang nr. 4

By

By

Henrik Marcussen

(2006) 25. årgang nr. 4


Klassisk

2006, nr. 2

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By

Thomas Michelsen

2006, nr. 2


Klassisk

2008, nr. 8

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By

Per Rask Madsen

2008, nr. 8

"Instruktøren Calixto Bieito ... hans version af "Wozzeck" føles ikke så radikal, at det gør noget, og det er helt fint. Her former han Bergs opera til et science fiction-univers, der er inspireret af omgivelserne i filmene Metropolis og Brazil ... Hubert Delamboye spiller rollen som Kaptajnen virkelig godt med neuroserne uden på tøjet ... Angela Denoke som Wozzeks kæreste Marie synger så rørende, så anmelderen bliver helt ør, hendes stemme er en lindrende balsam ... og Franz Hawlata går rent hjem i hovedrollen ... I orkestergraven er den yngre dirigent Sebastian Weigle i fuld kontrol".


The gramophone

2016 November

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By

Neil Fisher (musikanmelder)

2016 November

"Vurdering: Editor's choice" - "This is a finely honed production that follows its premise to an absurdist conclusion with slick theatricality and dispassionate zeal ... All sentimentalism is banished here. So, largely, is the opera's plea for justice and compassion. It is left to Christian Gerhaher's Wozzeck to fight that battle, which he does with formidable diction and great lyrical beauty, offering, where he can, a still centre in the tumult ... The orchestra offer much more than Swiss precision".


Fono Forum

2016 September

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By

Manuel Brug

2016 September

"Leichte Enttäuschung macht sich breit bei der hochgelobten Zürcher Wozzeck-Produktion ... für Andreas Homoki ist die Berg/Bruchner-Welt einfach nur ein wurmstichiges Kasperletheater. Das schnurrt mit seinen lebenden Puppen zwar brilliant ab, entzieht sich dadurch aber konsequent jeder aktuellen Deutung".


The gramophone

2012 December

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By

Mike Ashman

2012 December

"Vurdering: Gramophone choice" - "Everyone involved ... knows exactly where they are going and gets there triumphantly ... Nigl's carefully paced Wozzeck (far less 'expressionist' than we may be used to) and Byers's pitch-perfect everyday working woman of a Marie are ably supported ... Unless you cannot cope with the loss of an early-19th century period setting, this production will furnish the clearest possible exposé of the Berg/Büchner drama".


International record review

2012 November

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By

Roger Pines

2012 November

"Vurdering: IRR outstanding" - "Wozzeck on dvd is an extraordinary experience when one encounters well-directed singers who respond to the camera with the ease of film actors ... Currentzis draws a technically immaculate performance from the Bolshoi players ... Georg Nigl's attractively light-timbred voice deals with the music so easily that he is free to concentrate on details of characterization. This Austrian embodies Wozzeck totally ... All in all a magnificent release, very highly recommended".


The gramophone

2019 February

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By

Peter Quantrill

2019 February

"Editor's choice: Richly Mahlerian strings and brass set the tone for even the most edgy and 'contemporary' scenes in the tavern and between Wozzeck's trio of tormentors. All of whom, it must be said, are sung with some style ... Still more do the two central characters establish their own places ... Local favourite Eva-Maria Westbroek carries easily over Berg's full orchestra ... Christopher Maltman is another Wozzeck whose experience on the Lieder platform draws out the three-dimensional portrait of Schubertian pathos and focus ... This Wozzeck should command attention for Warlikowski's staging".


Fono Forum

2019 Februar

By

By

Manuel Brug

2019 Februar

"Die fleischig und schön singende Eva-Marie Westbroeck ... Wozzeck, herrlich bühnen-füllend als schmieriges Blondhaarwürstchen mit Brille gespielt und gesungen von Christopher Maltman ... Grossartige Nebenfiguren ergänzen das starke Trio ... Marc Albrecht lässt sie am Pult des prächtig klingenden, wachen Nederlands Philharmonisch Orkest glutvoll leuchten. Er zerlegt sie kristallin in ihre Strukturen, um das Geflecht an Anspielungen, Gattungen, Techniken und Systemen nur noch grandioser wirken zu lassen".


The gramophone

2018 Awards

By

By

Peter Quantrill

2018 Awards

"There is a theatrical logic for William Kentridge, first an artist then a film-maker and only latterly a director, to make Wozzeck his own Everyman ... Goerne's supreme self-absorption in the title-role was better ancountered in Keith Warner's staging at the Royal Opera ... Jurowski keeps the Vienna Philharmonic on a much tighter leash than Böhm or even Abbado did ... Audio direction is more focused than video: a lot more can be heard than seen in the tavern. It's an arresting show".


Fono Forum

2018 November

By

By

Manuel Brug

2018 November

"Überragend gestaltet ein reifer Matthias Goerne in der Titelrolle aus dem Wortfluss heraus, stark ist auch die präsente Asmik Grigorian als Marie ... Blendend die übrige Besetzung mit lauter Charakterköpfen ... Interessant der lyrisch-melodische, ja, süffige Klangansatz Vladimir Jurowskis am Pult der Wiener Philharmoniker, in denen immer noch ein Hauch von Klimt-Gold nachglüht".


Fono Forum

2008 Februar

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By

Manuel Brug

2008 Februar

"Der Aufreger ist nicht Sex oder der Ungang damit, sonders das spektakulär genutzte Bühnenbild. Das ist Hölle und Himmel".

Vurdering (Szene): 5/5.

Vurdeing (Musik): 5/5.


Fono Forum

2008 Juni

By

By

Ekkehard Pluta

2008 Juni

"Auf einer über Strecken leeren (und sehr dunklen) Bühne entwickelt er das Drama mit Stilmitteln des expressionistischen Theaters ... Das ist eine wahrlich kongeniale Interpretation".

Vurdering (Szene): 5/5.

Vurdering (Musik): 5/5.