Wozzeck

Of all the major Expressionism (a music form more appreciated for its importance in musical development than loved) composers, Berg is my personal favourite. While neither 'Wozzeck' and 'Lulu' are among my all time favourite, that doesn't stop me from considering them two of the finest operas of the 20th century. William Kentridge has a fascinating visual style that has leant itself well in opera, used to great use in the Metropolitan Opera productions of 'The Nose' and 'Lulu'.

His 'Wozzeck', which was broadcasted earlier this year live from the Met and a revival of this production, struck me as less successful as those two though when seeing that admirable but uneven production. My feelings since seeing this production have not changed. This is a marginally better performance, due to a much better Wozzeck and it has more passion and emotion here but a few of my criticisms with the recent Met production are present here too.

There is a lot to admire about this production of 'Wozzeck'. While the production is not perfect visually, Kentridge showcases once again, like he did with 'The Nose' and 'Lulu', his very interesting and quite unique visual style. The imagery is full of atmosphere, jaw-dropping at its best and is more often than not cleverly utilised. The sets are suitably austere while never being too ugly. The costumes fit beautifully within the concept and don't look too ugly on their own either.

'Wozzeck' is impeccable musically. The orchestra successfully manages to make Berg's incredibly complex score beautiful and affecting as well as frightening and twisted, this is more than just dissonant noise that some people from personal experience describe Expressionist music as, it seems like that on first listen but when one gets used to the style it is more appealing. Vladimir Jurowski, who still enjoys a very varied repertoire ranging from as early as Haydn, was an interesting choice for conductor, but he didn't seem taxed mostly even if inexperience with Berg showed in some pedestrian spots. He mostly conducts with authority and there is hair-raising intensity when necessary.

Despite the staging not being perfect, it didn't leave me cold on an emotional level. Act 3 has a lot of passion and emotion and the chemistry between Wozzeck and Marie is both tense and poignant. Matthias Goerne deserves every ounce of his acclaim he has gotten for his interpretation of this difficult title role. He sings firmly but warmly without sounding too refined or anything, he clearly had clear understanding of the text and that is obvious in how he shaped the words in such a nuanced but intense fashion and he is very musical. He is also a fine actor and Wozzeck is a complex tortured character here, where the roughness and anguish are both felt. Asmik Grigorian is quite a find as Marie, vivacious, steely and vulnerable with a voice that doesn't shriek or wobble its way through the music. She and Goerne have great chemistry together and their final scene is a dramatic highlight. The supporting cast are fine also, especially Gerhard Siegel having a lot of fun as the Captain.

However, although visually striking, striking Kentridge's designs were a little too over-stuffed and went at too fast a pace to near hyper-activity at times, meaning that it wasn't always easy catching up with it. The production would have benefitted from having less of this spectacle because it did get in the way of the drama a bit and doesn't allow one to completely invest, something that was not the case with 'The Nose' and 'Lulu'.

Marie could have been developed more as a character, everything is right on the surface but the complexity isn't always there. The final scene felt anti-climactic and has been more devastating elsewhere.

All in all, a lot to admire but uneven. 6/10