wozzeck met opera reviews

The voice is solid, if a bit weak at bottom, and she uses a raspy tone with Wozzeck in their second act confrontation which is both sneering and disrespectful. Why not? Both are vaild, but Nézet-Séguin's is creepier and somehow more riveting. A brilliant, thoughtful, singing actor with a beautiful voice, Mattei is all lyricism in this go-round, singing all the notes, whether full-value or Sprechstimme. Simulcast: The 1 p.m. Jan. 11 performance will be a simulcast carried to 12 Philadelphia-area movie theaters (admission prices vary). Simulcast: The 1 p.m. Jan. 11 performance will be … The hundreds of tempo and texture changes are seamlessly executed; the opera's 95 minutes go by organically. Wozzeck, Alban Berg’s 1925 opera, is a milestone in opera. 15 Mar 14 / New York Times : A listless ‘Wozzeck… Wozzeck Metropolitan Opera No. Bleak and hopeless: William Kentridge's Wozzeck at the Met, https://bachtrack.com/review-wozzeck-kentridge-mattei-heever-nezet-seguin-metropolitan-opera-new-york-january-2020, https://bachtrack.com/22/270/list-published/15724, https://bachtrack.com/files/40604-bob-levine.jpg, Aleksandra Kurzak impresses as the Met’s new Violetta, To add a comment, please sign in or register. Edward Gardner's conducting brings out the nuances of Berlioz's complex score, but The Met's concert staging lacks theatrical thrust. Additional performances Jan. 2, 7, 11, 16, 19, and 22 at the Metropolitan Opera, Lincoln Center, New York, all conducted by Yannick Nézet-Séguin. Alban Berg This revival, conducted by Yannick Nezet-Sequin and starring Peter Mattei, opened at The Metropolitan New York in January this year. of reviews: 10: Wozzeck en demi-mesure. Sign in to use alerts, your personal diary/wishlist, to save your recent searches, to comment on articles and reviews or if you want to input events. He has clearly been directed not to act as a man who is going mad. What we see on stage is the mental aberration of a nation traumatized by World War I. It’s an abyss to make you dizzy. That description of the title character in Alban Berg’s Wozzeck is also a fair summation of the opera itself, especially as rendered at the Metropolitan Opera by designer William Kentridge, music director Yannick Nézet-Séguin, and a carefully chosen cast headed by Peter Mattei.

The Met Opera On Demand service offers annual ($149.99) and monthly ($14.99) subscriptions as well as a one-off payment ($4.99) for those who have limited time or only want to watch the occasional opera. Musically, quality of sound, with both singers and orchestra, told the story. Andrew Staples' well sung Andres occasionally got lost in the murkily lit, ugly set (by Sabine Theunissen) but Tamara Mumford made much of Margaret. The cruelty of war is maiming, but man-to-man hideousness is, in some way, worse. This world ambled, sprinted and careened in unpredictable directions, with the singers often navigating the stage on precarious duck boards (wooden planks used in trench warfare to keep from sinking into the mud). The image is of a man lugging chairs around and walking on duckboards through chaos. He expresses no horror as he drowns in what he feels is Marie's blood. © 2020 The Philadelphia Inquirer, LLC Terms of Use/Privacy Policy, Elza van den Heever (in red) as Marie and Peter Mattei (far right) in the title role of William Kentridge's new production of Berg's "Wozzeck. The script, based on a real-life murder case, was found in fragments among his papers, not published until 1879 and not acted until 1913.

Nézet-Séguin’s message is clear: The only thing that matters in the abrasive world of this opera is the love between two people, even if it’s already waning into the past tense. Michael Mayer’s colorful and busy production of, At the helm of the world's most expensive opera house: Met General Manager Peter Gelb, Serving a greater purpose: in conversation with Yannick Nézet-Séguin, Visual storytelling: Ken Howard on performance photography, A good, if not particularly touching, Madama Butterfly from Hui He at The Met. Now-departed Met music director James Levine seemed to apologize for Berg’s expressionistic, uningratiating score by rounding off sharper edges. The whole world has gone mad. Information: 212-362-6000 or metopera.org. Gerhard Siegel's Captain comes close to vocal caricature occasionally but it doesn't make him any less manically dangerous, and conversely, Christian Van Horn's Doctor is the soul of sniping, calm cruelty. James Levine had previously been in charge of Wozzeck at the Met; Nézet-Séguin brings a transparency to the score that Levine eschewed in favor of an expressionistic in-your-face approach.

More objectively, the stage sometimes represented a time and place: The self-obsessed Captain and Doctor were seen against the backdrop of a war-ruined city — the long-term consequence of their short-term heedlessness. Wozzeck, Alban Berg’s 1925 opera, is a milestone in opera. And about sleeping with the Drum Major? But the emphasis should be on his inter-personal relationships with a deranged doctor, a sadistic captain and a woman who is equally bored, scared and exhausted by him and life. The orchestral apotheosis before the final scene is tragically beautiful as I've ever heard it. His work has appeared in many periodicals and newspapers. Mattei is almost completely upstaged by Sabine Theunissen’s vast and ugly set and the huge and flickering projections of old newsreels, jerky cartoons, charcoal and ink drawings and war maps. That description of the title character in Alban Berg’s Wozzeck is also a fair summation of the opera itself, ... OPERA REVIEW.

But he isn’t the only one who is crazy. He navigates the awkward, almost dangerous-looking sets with ease. There are a number of ways of tapping into this opera and others at will. The abrasive score, inspired by the horrors of World War I, has tremendous power and is an overwhelming experience, challenging orchestra, singers and audience alike.

Additional performances Jan. 2, 7, 11, 16, 19, and 22 at the Metropolitan Opera, Lincoln Center, New York, all conducted by Yannick Nézet-Séguin. James Levine had previously been in charge of Wozzeck at the Met; Nézet-Séguin brings a transparency to the score that Levine eschewed in favor of an expressionistic in-your-face approach. Intentionally, nothing meshed. Georg Büchner wrote Woyzeck just before he died of typhoid in 1837, aged 24. 6 Apr 14 / Altamusica: The Met's performance of Wozzeck was, in a word, astonishing. Kentridge’s rough-hewed, black-and-white imagery sets the opera amid World War I with computer-animated zeppelins, crashing planes, and many gas masks mixed in with more cartoonish images of animals, soldiers, and well-dressed women goose-stepping to nowhere. This story of a soldier who is driven to murder by his common-law wife’s infidelity and the degradation heaped upon him by the world at large — there are three, possibly four antagonists — was an explosive breakthrough in 20th-century opera at its 1925 premiere (requiring 137 rehearsals) and 1931 U.S. debut (in Philadelphia conducted by Leopold Stokowski). This revival, conducted by Yannick Nezet-Sequin and starring Peter Mattei, opened at The Metropolitan New York in January this year. Christopher Ventris' Drum Major impresses vocally and struts manfully. News, reviews, features and podcast on theatre across the UK. Never have I heard the early scenes between Wozzeck and Marie played with such intense tenderness. This Wozzeck is a nothing. Metropolitan Opera House, New York Despite theatrical drawbacks, I can heartily recommend this due to Yannick Nézet-Séguin's staggering understanding of all facets of the score and the Met Orchestra's brilliant playing. It’s a dark world; so dark, it makes Wozzeck want to hang himself. This product includes GeoLite2 data created by MaxMind, available from, https://bachtrack.com/files/157881-woz-0606a.jpg, https://bachtrack.com/files/157875-woz-2166a.jpg, https://bachtrack.com/files/157879-woz-0356a.jpg, https://bachtrack.com/files/157877-woz-0717a.jpg, 2019-Dec-27, Lincoln Center: Metropolitan Opera House: Wozzeck, https://bachtrack.com/opera-event/wozzeck-metropolitan-opera-27-december-2019/309899, https://schema.org/OfflineEventAttendanceMode, https://bachtrack.com/files/38525-met-opera-logo.jpg, https://bachtrack.com/themes/bachtrack2013/mastheadlogo.png. Robert T. Levine is a New York born-and-bred music writer with a particular interest in music for the voice. Every Thursday, we'll send you ways to help you live better and stay connected while we’re social distancing.

Be prepared to be overwhelmed by the music and the singing and by the production, the set and the projections. Or perhaps both, as I felt after seeing the Metropolitan Opera’s staging of Alban Berg’s brutal barracks tragedy Wozzeck, which hits British cinema screens this Saturday. Captain and Doctor use Wozzeck for their own amusement and Wozzeck barely reacts. As the faithless Marie, Eliza van den Heever has plenty of vocal richness to offer but scaled back into a thin, reedy tone in moments of betrayal. François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta. This may seem perverse, but if Maestro Nézet-Séguin remains and future producers were to work around Kentridge's (and his co-producer, Luc de Wit's) catatonic direction of the title character and opt for a bit more light on the people and less on the projections, this might be a thoroughly effective Wozzeck.

Her life is otherwise relentlessly drab. The opera’s destructive gang of three — Gerhard Siegel as the captain, Christina Van Horn as the doctor, and Christopher Ventris as the drum major — avoided Gothic caricatures of evil and just were who they were. But when he finally has a reaction, it is to murder Marie, a boiling point, one feels, that has been a long time coming but one for which we, the audience, were not prepared.

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