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CHAN 3094 Book Cover.qxd 11/4/07 3:12 pm Page 1

CHAN 3094(2) CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3094 BOOK.qxd 11/4/07 3:13 pm Page 2

Alban Berg (1885–1935) in three acts (fifteen scenes), Op. 7 by after Georg Büchner’s play Lebrecht Collection Lebrecht English translation by Richard Stokes Wozzeck, a soldier...... Major ...... Andres, a soldier...... Peter Bronder tenor Captain ...... Stuart Kale tenor Doctor ...... Clive Bayley First Apprentice...... Leslie John Flanagan baritone Second Apprentice...... bass The Idiot...... John Graham-Hall tenor Marie ...... Dame Margret ...... mezzo-soprano Marie’s Boy, Soldiers and Youths, Girls and Wenches, Children Susan Singh Choristers Geoffrey Mitchell Philharmonia Alban Berg Tony Legge assistant conductor

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COMPACT DISC ONE Time Page Time Page Act I Scene 5 Scene 1 10 ‘Show me how you parade!’ 3:01 [p. 99] 1 ‘Slowly, Wozzeck, slowly!’ 3:57 [p. 90] Marie, Drum Major Captain, Wozzeck TT 34:00 2 ‘Wozzeck, you are a decent man, and yet…’ 4:44 [p. 91] Captain, Wozzeck COMPACT DISC TWO Scene 2 Act II 3 ‘Andres! This place is accursed!’ 3:12 [p. 92] Scene 1 Wozzeck, Andres 1 ‘How they glisten brightly!’ 3:02 [p. 100] 4 ‘Listen. There’s something moving there below us!’ 3:08 [p. 93] Marie Wozzeck, Andres 2 Wozzeck enters, unseen – ‘What’s that, there?’ 2:36 [p. 100] Scene 3 Wozzeck, Marie 5 Military music off-stage – ‘Tschin, Bum, Tschin, Bum, Bum, Bum, Bum!’ 2:01 [p. 94] Scene 2 Marie, Margret 3 ‘Why are you rushing, my dearest friend’ 4:34 [p. 101] 6 ‘“What will you do now, poor lamb?…”’ 2:02 [p. 94] Captain, Doctor Marie 4 ‘Hey, Wozzeck!’ 2:16 [p. 103] 7 Marie sunk in thought – Knocking at the window – Doctor, Captain ‘Who’s there?’ 4:03 [p. 95] 5 ‘But what are you trying to tell me, Herr Doktor’ 3:06 [p. 104] Marie, Wozzeck Wozzeck, Captain, Doctor

Scene 4 Scene 3 8 ‘This is monstrous, Wozzeck!’ 4:48 [p. 96] 6 ‘Good morning, Franz’ 3:32 [p. 105] Doctor, Wozzeck Marie, Wozzeck 9 ‘Wozzeck – Just like a lunatic!’ 2:59 [p. 98] Doctor, Wozzeck

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Time Page Time Page 7 Scene change [Slow Ländler] – Tavern music onstage – Scene 2 16 ‘The town is over there’ 2:53 [p. 112] Scene 4 Marie, Wozzeck ‘I’ve got a shirt on, though it is not mine…’ 2:51 [p. 106] 17 The moon rises – First Apprentice, Second Apprentice ‘How the moon rises red!’ 1:55 [p. 113] 8 Tavern music onstage – Marie, Wozzeck ‘Him! Her! Damn!’ 1:48 [p. 107] Wozzeck, Marie, Drum Major Scene 3 9 ‘A hunter from the Rhine’ 1:42 [p. 108] 18 ‘Dance, damn you!’ 2:55 [p. 114] Youths, Soldiers, Andres, Wozzeck Wozzeck, Margret, A Youth, Wenches, Youths 10 ‘And yet, if a traveller pauses’ 4:54 [p. 109] First Apprentice, Soldiers, Youths, Andres, The Idiot, Wozzeck Scene 4 19 ‘The dagger? Where is the dagger?’ 2:25 [p. 115] Scene 5 Wozzeck 11 ‘Mmmmmm’ 2:05 [p. 110] 20 ‘I ought to wash myself clean’ 2:15 [p. 116] Soldiers, Wozzeck, Andres Wozzeck, Captain, Doctor 12 ‘I am a man!’ 2:28 [p. 110] Drum Major, Andres, A Soldier, Wozzeck 21 Scene change [Invention on a Key] 3:18 [p. 116]

Act III Scene 5 (last) Scene 1 22 ‘Ring-a-ring-a-roses, all fall down!’ 1:56 [p. 117] 13 ‘“And out of his mouth”’ 1:49 [p. 112] Children, First Child, Second Child, Third Child, Marie’s Boy Marie TT 57:43 14 ‘“And once there was a lonely child”’ 1:09 [p. 112] Marie 15 ‘“And falling on her knees before Him”’ 1:55 [p. 112] Marie

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round his teacher . The production is full of carping at the actual Berg: Wozzeck work attracted a limited but enthusiastic performance and of hints at revisions to the following also after 1933, when during the score which he would recommend to his The author Georg Büchner (1813–1837), by sent to various directors. One after another Nazi era the opera fell completely out of pupil. Long after Berg’s death Schoenberg nature a revolutionary, finished only five works turned it down until Berg succeeded in favour in Germany. After 1945 there were still could not resist a reservation before bestowing before he died at the age of twenty-three. interesting , newly appointed countries to be ‘converted’ to the cause of an accolade. He had been, he wrote, greatly Wozzeck was found in manuscript only in musical head of the Berlin . The Wozzeck. The opera had fought for acceptance surprised when this 1875 and its illegibility and generally chaotic story goes that Kleiber was so impressed with for almost seventy years after the first soft hearted, timid young man had the courage state were such that its title was discovered to the score that already after the second scene of performance when in the 1990s Paul Daniel to engage in a venture which seemed to invite be Woyzeck only after the publication of Alban Act I he announced he would do the opera in pinned the name of Wozzeck to his manifesto misfortune; to compose Wozzeck a drama of such Berg’s opera. The exploitation of the poor and Berlin, ‘even if it cost me my job’. Meanwhile, before he came to work at . extraordinary tragedy that seemed forbidding to the existential problem of suffering are themes asked Berg to prepare a Schoenberg, whom Berg revered as teacher music… He succeeded. Wozzeck was one of the which suggest the prophetic nature of , the so-called ‘Three Fragments from and indeed almost as guru, was somewhat greatest successes of opera. Büchner’s writing, generations before such as Wozzeck’, which in 1924 he conducted in ambivalent in his initial attitude towards (This was Schoenberg writing in English.) But Émile Zola took up the same themes. concert. But the experience of regular rebuttal Wozzeck. Berg had a deep-seated fear of the period of uncertainty between the The composition of Wozzeck, an opera at the hands of Intendants and Music Directors Schoenberg’s interference while he was completion of the score and the opera’s first conceived in 1914 when Berg saw a stayed in the minds of the opera’s supporters. working on the opera – indeed seems to have production, was the one time when relations performance of Büchner’s play, was interrupted Wozzeck has always been something of a dreaded Schoenberg’s arrival in in case between Berg and his revered Schoenberg were by the First World War, in which Berg served. ‘cause’, a work which people have believed in the master should insist on seeing the score. As less than cordial. The music was finished in short score in 1921, and campaigned for either with a view to late as 1923, when he was still making At the time of Wozzeck’s premiere in Berlin in Berg completing the full score in April 1922. performance or just because they wanted amendments to it, he wrote to his wife: December 1925, Kleiber was no more than In 1923 undertook to others to believe in it, too. Its adherents have Schoenberg was again intolerable. He criticised thirty-five and therefore likely to be susceptible publish the work. Later that year Berg’s friend been passionate in their advocacy, never everything about me: that I am still working on to the new music, and in point of fact Wozzeck Eduard Steuermann, an admirable pianist, lukewarm, and this was vigorously so in the Wozzeck (‘very Karl Krausisch, this eternal became a central work of the conductor’s played the opera to the Intendants of Frankfurt years after the work’s completion in 1921 and correcting!’), that I smoke, that I shouldn’t musical creed. His correpetiteurs in Berlin used and , but no promise of before it reached the stage in 1925. These were imagine Wozzeck will have any success, it’s too to speak of his infinite care and at performance resulted. The printed vocal score years, one must remember, when Berg was difficult. rehearsals, of which there were an almost (paid for by Mahler’s widow, Alma, but known as a remarkable composer only among Even Schoenberg’s letter of congratulation unprecedented number, insisting that the pianist published at Berg’s own expense in 1922) was a few friends and supporters in the circle after his first experience of the Berlin observe a particular rhythm or emphasise a

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particular note of a chord in order to help the There were ten performances in Berlin and the although the theme of the in Act I moment when it is articulated, immediately singer. When Kleiber was in in 1952 to opera made its way forward, slowly and always has twelve notes. He does not use key afterwards the voice dropping or rising as in conduct the first British production, he spoke with controversy; though after Oldenburg signatures, except in the interlude between natural speech. with affection of his collaborators in Berlin as if staged it in 1929 it was seen in fifteen other Scenes 4 and 5 in Act III, but he does make Wozzeck is in three acts, each divided into they were a kind of family from long ago, and German cities before it fell into disrepute with considerable and subtle use of Sprechstimme, five scenes. The music is continuous and Berg he went so far as to invite the original Marie, the the advent of the Nazis. Within a few years which originated with Schoenberg who often provides no more than a few seconds of Danish soprano Sigrid Johanson, to London to Berg had received sufficient royalties from employed it in . Sprechstimme musical interlude during which scene changes partake of the celebrations at the British Wozzeck to afford – at forty-five! – to buy his could be described as ‘musically defined must be carried out. premiere. He himself wondered if the London first car. speech’. Rhythm and intonation are exactly The composer himself has related music to performances might do away with Berg’s own It is a curious comment on both Wozzeck, prescribed, but drama in the most succinct way in the bowdlerisation of some of Büchner’s original now accepted as one of the masterpieces – in the execution, each note is only defined in the following table: text – for example, Berg had changed the perhaps the masterpiece – of twentieth-century Doctor’s ‘gepißt’ (pissed) to the innocuous but opera, and the politico-aesthetic outlook of Stage Music in the context meaningless ‘gehustet’ (coughed). Nazi Germany that already in 1933 Berg’s Act I But he wondered in vain. opera was effectively banned in Germany. We Wozzeck in his relationship to his surroundings Five Character Pieces Berg’s excitement during the opera’s now incline to forget that Berg’s second opera, rehearsals in Berlin mounted to nothing less , had its premiere in Zürich (in 1937, Wozzeck and the Captain Scene 1 Suite than euphoria, as did also his enthusiasm for after Berg’s death) and not in Germany, and Wozzeck and Andres Scene 2 Rhapsody sets, production, cast and, above all, for that even Hindemith was completely out of Marie and Wozzeck Scene 3 Military March and Lullaby Kleiber’s understanding of the music and his favour in Nazi times, victims, both he and Wozzeck and the Doctor Scene 4 Passacaglia patience with whatever difficulties surrounded Berg, of the official description of their work Marie and the Drum Major Scene 5 Andante affettuoso (quasi ) the preparation. In the event, as subsequently, as ‘cultural bolshevism’ and ‘degenerate art’. the opera divided opinion, but its success in Act II some quarters was sufficient for the composer, Musical Organisation Dramatic development in Five Movements according to the critic and philosopher Berg was a pupil of Schoenberg’s and his Marie and the Child, later Wozzeck Scene 1 Sonata Movement Theodor Wiesengrund Adorno, to feel in need musical style is influenced by many of his Captain and Doctor, later Wozzeck Scene 2 Fantasia and of consolation: teacher’s theoretical and practical ideas. The Marie and Wozzeck Scene 3 Largo If the opera pleases people so much, then there opera is not composed according to Tavern Garden Scene 4 must be something wrong with it! Schoenberg’s so-called dodecaphonic method, Sleeping Quarters in the Barracks Scene 5 Rondo marziale con introduzione

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Act III hierarchy. The poignant meeting of Marie and the Captain do with the ten minutes he saves? Catastrophe and Epilogue Six Inventions Wozzeck, the two great orchestral crescendi on Wozzeck is a good fellow, he continues, but the B natural which follow the murder, the manic fact that he is unmarried but has a child shows Marie with the Child Scene 1 Invention on a Theme rhythms of the Tavern scene, the orchestra’s that he is without moral sense. Wozzeck replies Marie and Wozzeck Scene 2 Invention on a Tone rising chromatic scales commenting on the that God will surely not reject a child just Tavern Scene 3 Invention on a Rhythm drowning of Wozzeck, and then the great because the parents’ union has not been blessed Wozzeck’s Death Scene 4 Invention on a threnody – a high-point of the last by the church, and he cites the words of Christ. Orchestral Interlude Invention on a Key century’s music making: this is the stuff not just The Captain is exasperated and his voice rises to Children at Play Scene 5 Invention on a Quaver Motion of twentieth-century music but of music drama, a high C. ‘Wretches like us!’, Wozzeck continues, However, the composer, in an article published wrote of his delight in the ‘classical’ quality of of opera at its most expressive and powerful. explaining that only the rich can afford in the -Zeitung in 1928 and the – ‘it needs singing as if it were conventional morality, but the Captain comes to reprinted in Willi Reich’s book on Berg, has Trovatore!’ Sometimes it is hard to live up to © 2003 The Earl of Harewood the conclusion that he thinks too much. given a warning to anyone who may be the composer’s own ideals, but it is definitely tempted to perform a mental analysis of worth trying. Synopsis Scene 2 Wozzeck during performance: From the time I first heard the music (in Wozzeck is the story of a Common Man, An open field However thorough one’s knowledge of the musical 1949, in concert under Sir ) I was whose neurotic tendencies and untrained Wozzeck and his friend Andres are cutting forms which are to be found within the opera… totally captivated as much by the folk-like senses are beset by problems not entirely of his sticks at sundown but Wozzeck lets his from the moment when the curtain rises until it invention (Andres in Act I, Scene 2 or Margret own making and by the machinations and imagination run riot, perceiving intrigues of falls for the last time, nobody in the audience in Act III, Scene 3) as by the lyrical scenes manoeuvres of his fellow men and women. It the Freemasons and somehow convinced that ought to notice anything of these various associated with Marie (her Lullaby in Act I, is set in Germany around 1830. the world is on fire when the setting sun and Inventions, Suite and Sonata movements, Scene 3 or the Bible-reading in Act III, Scene 1); colours the horizon red. Variations and – everyone should be as much by the satire connected with the COMPACT DISC ONE filled only by the idea of the opera, an idea which Doctor and the Captain, and the pictorialism of Scene 3 far transcends the individual fate of Wozzeck. the outdoor scenes (Act I, Scene 2; Act II, Act I The room of Marie, Wozzeck’s woman Wozzeck is of course not easy to sing but Scene 4), as by the expressive drama whenever Scene 1 Marie watches as a military band marches past. Berg himself hated the idea that the vocal line Wozzeck and Marie meet. In fact, I think that The Captain’s room The Drum Major waves to her, and her should be caricatured as if notes and style were the third act, from Marie’s solo at its start to the The Captain is being shaved by Wozzeck, his neighbour Margret comments maliciously on her alike almost unapproachable. After almost solitary child with his ‘Hop, hop!’ at the end, soldier-servant. He moralises to the bewildered lively interest in soldiers, but Marie slams the every new premiere of the opera, the composer immediately ranked high in my operatic Wozzeck: if Wozzeck hurries so much, what will window shut and sings a lyrical cradle song to

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her child. Wozzeck knocks at the window but is suspicious when she says she found the Scene 3 yet it reeks… reeks of blood!’, a role of in too much of a hurry even to look at his child. earrings; he never had the luck to find things Street in front of Marie’s door extraordinary significance confined to a mere like that in pairs. He gives Marie the money The Symphony’s slow movement (Largo) takes thirteen notes. As the dancing starts again, Scene 4 he has earned from the Captain and the place in front of Marie’s house and Berg scores Wozzeck’s imagination is obsessed with the Next day, in the Doctor’s study Doctor, then leaves. She reflects sadly on her it for the fifteen-piece chamber orchestra used notion of blood. Wozzeck is paid to act as a guinea pig for the infidelity. by Schoenberg in his Kammersymphonie No. 1, Doctor’s dietetic experiments but reacts Op. 9. Wozzeck confronts Marie: she is as Scene 5 vigorously when told he is not following Scene 2 beautiful as sin, but how can sin be beautiful? Wozzeck’s barrack room at night instructions. His outburst causes the Doctor to The street Did the Drum Major stand there? When Marie The occupants snore as Wozzeck complains to suggest to him that he may well end up in a The Doctor hurries along but is stopped replies that she is not responsible for who walks Andres that he cannot sleep for thinking about lunatic asylum. Ultimately the Doctor is more by the Captain whom he forces to listen in the street, Wozzeck looks as though he will the dance hall. The Drum Major staggers in, interested in the fame which he himself will to details of recent fatal cases. The Captain’s strike her. ‘Sooner a dagger in my heart than loudly vaunting his conquest and demanding achieve when his new theories are published flushed condition may turn out to be you could touch me there. My father did not that Wozzeck drink with him. Wozzeck turns than in his patient. the symptom of an impending apoplectic dare to, once I was ten years old.’ away but the Drum Major pulls him to his fit, the Doctor announces, thoughts of feet and they fight. Andres exclaims, ‘He’s Scene 5 which send the Captain into a lyrical Scene 4 bleeding’, and the mere mention of blood In front of Marie’s house reverie on the subject of his likely A tavern garden. Couples dance to a slow strikes Wozzeck as the prompting of fate: ‘One The Drum Major postures for Marie, who obituaries. Ländler after the other!’ repulses him when he tries to embrace her but Wozzeck comes into view, cutting through Two drunken Apprentices sing in a maudlin eventually gives in: ‘Why should I care? Who the world like one of his own razor blades, way of the effect of brandy, and Wozzeck is Act III could give a damn!’ thinks the Captain. Shaving reminds him of overcome with jealousy at the sight of Marie Scene 1 the scandal between Marie and the bearded dancing with the Drum Major. He is about to Marie’s room at night COMPACT DISC TWO Drum Major and he and the Doctor rush onto the dance floor when the music A solo gives out the Theme as Marie torment Wozzeck – could he have found the stops and the soldiers, with Andres to the fore, reads the story of Mary Magdalen and Act II hair of a beard in his soup? Wozzeck reacts intone a lusty hunting song. In Sprechstimme compares what she is reading with her own Scene 1 vehemently: how can one find satisfaction in the First Apprentice begins a wholly life. Berg employs Sprechstimme when Marie Marie’s room life? The Doctor feels his pulse, and when nonsensical sermon, after which an Idiot reads from the Bible, but uses singing in her Marie admires her new earrings, then tries to Wozzeck rushes off he and the Captain express wanders over to the bench on which Wozzeck hauntingly beautiful comment on what she get the child to go to sleep. Wozzeck is surprise. is sitting, and observes, ‘Happy, happy… and has read.

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Scene 2 The great D minor interlude forms the Opéra Comique and Gran Teatre del in The career of Dame A pool in the forest, later that night opera’s climax; a lament for Wozzeck himself. , as well as in Lyon, Nantes, Josephine Barstow Wozzeck stops Marie from going home and Montpellier, Copenhagen, Amsterdam, Santa (Marie) has reflects on how long they have known each Scene 5 Fe, Vancouver and Ottawa. His many included acclaimed other. He draws a knife and stabs her in the The street outside Marie’s house engagements have included the title roles in performances of throat. An interlude consists of two long Children are playing but Marie’s boy stays on , , , Wozzeck , , the crescendi on the note B natural, beginning his own, riding his hobby-horse. Other and , as well as Figaro (Le nozze di Lady Macbeths of quietly on solo and continuing through children run up saying that Marie has been Figaro), Don Alfonso (Così fan tutte), Papageno Verdi and the whole orchestra. found dead, then run off. But the boy does (Die Zauberflöte), Dulcamara (L’elisir d’amore), Shostakovich and a not understand; he goes on playing, then rides Dr Bartolo (Il barbiere di Siviglia), Baron variety of roles in Scene 3 off after the others. The curtain drops. Trombonok (), Varlaam (Boris by A tavern Godunov), King Dodon (Le Coq d’or), the composers as The curtain rises straight away on Scene 3, © 2003 The Earl of Harewood Baron (La Vie parisienne), Frank (Die diverse as Mozart, Beethoven, Verdi, Puccini, with a quick polka rattled out on an out-of- Fledermaus), Faninal (), Dikoy Janácˇek and . In recent seasons tune . Wozzeck is among the dancers and In Great Britain, Andrew Shore (Wozzeck), (Kát’a Kabanová), Dr Kolenat´y (The Makropulos she has sung the title roles in Medea and , flirts with Margret. She sees blood on his acknowledged as the country’s premier buffo Affair), Shishkov (From the House of the Dead ), the Countess (The Queen of Spades), Mrs Alice hand. He attempts to explain it away but baritone and an outstanding singer/actor, has Leander (The Love for Three Oranges), Mr Flint Ford (Falstaff ), Kostelnicˇka (Jenu˚fa), quickly storms out of the room. worked with , The ( ), Mr Gedge () and Kabanicha (Kát’a Kabanová), Emilia Marty Royal Opera, , Opera North, George Wilson (The Great Gatsby) besides (The Makropulos Affair), Marie (Wozzeck), Scene 4 Glyndebourne Alberich in concert performances of Mother Marie (Dialogues des Carmélites), Ellen The pool Festival Opera, . Recordings include Leporello Orford (), Lady Billows (Albert Looking for the knife with which he killed and ( ), Dulcamara (The Elixir of Herring) and Queen Elizabeth I (). Marie, Wozzeck stumbles upon her corpse. Welsh National Love), the title role in Don Pasquale, Dr Bartolo She sang Miss Wingrave in a television film of When he finds the knife he throws it into the Opera. Abroad he (), the title role in Falstaff, conducted by , pool. He walks hopelessly into the water to has appeared with Benoit (La bohème), the Sacristan (Tosca) and and created the role of the protagonist in the wash the blood off his hands, and disappears San Diego Opera, Faninal (highlights from Der Rosenkavalier), world premiere of Penderecki’s Die schwarze from view as the Doctor and the Captain arrive. New Israeli Opera, all for Chandos in the Opera in English Maske at the Salzburg Summer Festival, after They hear a strange noise – it is the sound of a Opéra national de series sponsored by the Peter Moores which she was invited back by Karajan to man drowning, comments the Doctor. -Bastille, Foundation. perform in Tosca and . In

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Great Britain she has sung with The Royal (The Queen of Spades), Don José (), with English National Stuart Kale (Captain), Opera, Covent Garden, English National Herod (Salome), Bacchus (), Opera, she has sung a singing actor of Opera, Opera North and Welsh National Prince Andrei () and Edmund Amastris (Xerxes), international renown, Opera; on the Continent at the Paris Opéra, (Aribert Reimann’s Lear) for English National Rosina (The Barber of trained at the London Bayerische Staatsoper, , The Opera, the Drum Major (Wozzeck) for Opera Seville), Maddalena Opera Centre with a Netherlands Opera, Flanders Opera and in North and Herod for Scottish Opera. He has (), Carmen, scholarship from the Lisbon, Barcelona and ; and in appeared as Sergey (Lady of Mtsensk) Octavian (Der Peter Moores America with The , New at the Opéra national de Paris-Bastille, Rosenkavalier), Jocasta Foundation. He began York, , Lyric Opera of Frankfurt Opera and Teatro alla Scala, ; () and his career at Welsh Chicago and Houston Grand Opera. A as Florestan () at Bern Opera; as Aegisth Helen of Troy (King National Opera before singing actress of the first order, she was made () and the Emperor (Die Frau ohne Priam). A regular joining English a CBE in 1985 and in the same year was Schatten) at Theater and Bayerische guest at Glyndebourne Festival Opera, where National Opera, where he remained for eight presented with the Fidelio Medal on behalf of Staatsoper in Munich; as the Emperor at her roles have included Emilia () and years, singing Don Ottavio (Don Giovanni ), the International Opera Directors Association Deutsche Oper, Berlin; as and Siegfried Geneviève (Pelléas et Mélisande), she has Alfred (), Michel (Martinu˚’s – only the sixth such medal to be given; in at Gran Teatre del Liceu in Barcelona; as performed Nicklausse (Les Contes d’Hoffmann) ) and Nanki-Poo (), among 1995 she was created a Dame Commander of Tannhäuser at in Palermo; as for , Covent Garden, Isabella many others; he has since returned as guest to the Order of the British Empire. Tannhäuser and Bacchus at Teatro San Carlo (L’italiana in Algeri ) for the Buxton Festival, and perform Dr Caius (Falstaff ), Herod (Salome) in Naples; and as Siegfried at the Tiroler both Angelina (La Cenerentola) and Idamante and Truffaldino (The Love for Three Oranges). The tenor Alan Festspiele and the Théâtre du Capitole in () for Garsington Opera. Abroad she He has appeared at The Royal Opera, Covent Woodrow (Drum Toulouse. Further afield he has performed has appeared at The Netherlands Opera, Garden as the High Priest (Idomeneo), Guillot Major) studied at the with , , San Diego Flanders Opera, Seattle Opera and San Diego (), the Schoolmaster and the Mosquito Royal Conservatory Opera, and New Opera, and most recently sang Eduige () and Bob Boles of Music in Israeli Opera in . () at the Châtelet Théâtre Musical (Peter Grimes); at as and the London under William Christie. Her recordings for Dr Suda (Janácˇek’s Osud [Fate]); at Châtelet Opera Centre. The mezzo-soprano Jean Rigby (Margret) Chandos include Mendelssohn’s Paulus, Delius’s Théâtre Musical in Paris as Lucano Among the many studied at the Birmingham School of Music A Mass of Life, Britten’s (L’incoronazione di Poppea), Valzacchi roles he has sung are and subsequently at the Royal Academy of and, in the Opera in English series sponsored by (Der Rosenkavalier) and the three tenor roles in Canio ( ), Music with Patricia Clarke, with whom she the Peter Moores Foundation, the roles of Lulu; at Opéra du Rhin in Strasbourg as Hermann continues to study. During a long association Maddalena and of Suzuki (Madam Butterfly). Shuisky (), Alfred, Herod,

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Albert Gregor (The Makropulos Affair), the premiere of Sir ’s The tenor John Opera, L’Opéra de Nice, at the Salzburg and Captain (Wozzeck) and Bob Boles; and at and has subsequently appeared as Hans Foltz Graham-Hall (The Ravenna Festivals, and at venues in Toronto Drottningholm as the Podestà (La finta (Die Meistersinger von Nürnberg), Colline Idiot) studied at King’s and Vancouver, among many others. He sings giardiniera) and in the title role of Idomeneo. (La bohème) and Castro (). College, Cambridge Bob Boles in Chandos’ Grammy Award- Among his other roles, performed at opera At Opera North he has sung Figaro (Le nozze and the Royal College winning recording of Peter Grimes. houses and at festivals in both Europe and di Figaro), Wurm (Luisa Miller), Sparafucile of Music. In Great North America, are Aegisth (Elektra), the (Rigoletto), Ferrando (), an Old Britain he has sung, Peter Bronder (Andres) Drum Major (Wozzeck), Zinovy (Lady Monk (), Arkel (Pelléas et among others, the studied at the Royal Macbeth of Mtsensk), Captain Vere (Billy Mélisande), the Doctor (Wozzeck), Sir Walter Dancing Master Academy of Music and Budd ) and the Leper (Saint François d’Assise). Raleigh (Gloriana) and the Referee (Benedict (Ariadne auf Naxos) the National Opera His recordings include Otello, Falstaff, Madam Mason’s Playing Away). Among his successes at and Albert Herring for Studio. After a season Butterfly, Osud and highlights from Boris English National Opera are Cadmus (), The Royal Opera, Covent Garden; Vanya with Glyndebourne, he Godunov, all for Chandos in the Opera in Ferrando (Il trovatore), Pistol (Falstaff ), the (Kát’a Kabanová) and Bob Boles (Peter Grimes) became principal tenor English series sponsored by the Peter Moores four Villains (The Tales of Hoffmann), Arkel, for Glyndebourne Festival Opera; Cassio with Welsh National Foundation. the Doctor (Wozzeck), and Collatinus (The (Otello) and Valzacchi (Der Rosenkavalier) for Opera, where he sang Rape of Lucretia). He has sung Don Fernando Welsh National Opera; Ferrando (Così fan in Così fan tutte, Die Since training at the in concert performances of Fidelio under tutte) and Gustav von Aschenbach (Death in Zauberflöte, Il barbiere Royal Northern Walter Weller, and has appeared with both Venice) for Glyndebourne Touring Opera; and di Siviglia, I puritani, La traviata, La bohème College of Music, Glyndebourne Festival and Touring Operas. Eisenstein (Die Fledermaus) and the and . More recently he has where he was a Peter Abroad Clive Bayley has performed with The Schoolmaster (The Cunning Little Vixen) for returned to sing Pylade (Iphigénie en Tauride), Moores Scholar and Netherlands Opera, Seattle Opera, Bayerische Scottish Opera. Currently he is a member of Dr Caius (Falstaff ), Alfred (Die Fledermaus) sang Claggart in a Staatsoper, Munich and in Lisbon, Lausanne English National Opera, where his roles have and Bob Boles (Peter Grimes). He has production of Billy and Toulouse. Recordings for Chandos include included Monostatos (The Magic ), Mime performed Pedrillo (Die Entführung aus dem Budd, the bass Clive Troilus and Cressida and Billy Budd and, in (The Rhinegold ), Goro (Madam Butterfly), Serail ), Lord Arturo Bucklaw (Lucia di Bayley (Doctor) has the Opera in English series sponsored by the Herod (Salome), Shabby Peasant (Lady Lammermoor) and Cassio (Otello) for The become a regular Peter Moores Foundation, Don Giovanni, Macbeth of Mtsensk), Alwa (Lulu) and Royal Opera, Covent Garden; Count performer with Don Pasquale, Il trovatore, Falstaff, Madam Lysander (A Midsummer Night’s Dream). Almaviva (The Barber of Seville) and Vanya major opera companies. He made his debut Butterfly, and highlights from Boris Abroad he has performed at Théâtre royal de (Kát’a Kabanová) for English National Opera; with The Royal Opera, Covent Garden in the Godunov. la Monnaie in Brussels, The Netherlands Prunier () and the Captain

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(Wozzeck) for Opera North; Leicester (Maria (Eugene Onegin) for Opera North; Sparafucile Fiorello (The Barber of Seville), Marullo Membership is by invitation and audition, Stuarda), Rodolfo (La bohème) and the (Rigoletto), the Bonze () and (Rigoletto), Donner (The Rhinegold ), candidates already having experience in Dancing Master (Ariadne auf Naxos) for Timur (Turandot) for Welsh National Opera; Schaunard (Puccini’s La bohème), Colline singing performance at institutions such as Scottish Opera; and Mr Upfold (Albert and Elviro (Xerxes), Ferrando (Il trovatore), (Leoncavallo’s La bohème), Prince Yamadori English National Opera, where Susan Singh is Herring) for Glyndebourne Festival Opera. Fasolt (The Rhinegold ), Colline (La bohème) (Madam Butterfly) and Barney (The Silver Children’s Adviser, Finchley Children’s Music Among companies abroad, Peter Bronder has and the Badger (The Cunning Little Vixen) for Tassie). Group, where she is conductor of the junior worked with Bayerische Staatsoper in Munich, English National Opera. and intermediate , New London Frankfurt Opera, The Netherlands Opera, Richard Stokes teaches languages at Children’s Choir, The Jennifer Lilleystone Théâtre royal de la Monnaie in Brussels, Born in Queensland, Westminster School, coaches singers in the Singers, and schools all over London and the Châtelet Théâtre Musical in Paris and San Australia in 1975, interpretation of Lieder and gives frequent South of . Francisco Opera. For Chandos, in the Opera the baritone Leslie lectures on song composers. He is co-author of in English series sponsored by the Peter John Flanagan (First books on German, French and Spanish song – Geoffrey Mitchell’s singing career has Moores Foundation, he has recorded Pagliacci Apprentice) studied The Fischer-Dieskau Book of Lieder, A French encompassed a remarkably wide repertoire and . at the Queensland Song Companion (with Graham Johnson) and from early to contemporary music and has Conservatorium. In The Spanish Song Companion – and taken him to Scandinavia, Germany, the Born in 1973 in Australia his roles collaborated with Alfred Brendel on One former Czechoslovakia, Canada and Glasgow, the bass included Papageno Finger Too Many (Ein Finger zuviel ). Recently Australasia. Early conducting experience with Iain Paterson (), he published J.S. Bach – The Complete Church the BBC led to a wider involvement with his (Second Apprentice) (Un ballo in and Secular Cantatas and a translation of own singers and in turn to the establishment of trained at the Royal maschera), Krusˇina () and Brendel’s The Veil of Order (Ausgerechnet ich), the Geoffrey Mitchell Choir. Early recordings Scottish Academy of Dancaïre (Carmen). In 1997 a scholarship to be followed by Boulez on Conducting. His resulted in the Choir’s long-term involvement Music and Drama, enabled him to come to the UK to attend the singing translations of Berg’s Wozzeck for with Opera Rara for which it has made over and continues to Alexander Gibson Opera School of the Royal Opera North, and of Wagner’s and thirty recordings. The Choir is enjoying a study with Neilson Scottish Academy of Music and Drama, where Berg’s Lulu for English National Opera have growing reputation with further work from the Taylor. He has sung he sang the title role in Don Giovanni; he met with great critical acclaim. BBC and international record companies. For Figaro (Le nozze di currently studies with Janice Chapman. As Chandos the Geoffrey Mitchell Choir has Figaro), Leporello (Don Giovanni ), Fabrizio Junior Principal Baritone with English The Susan Singh Choristers provides young participated in numerous recordings in the (The Thieving Magpie), Baron Douphol National Opera since 1999, he has sung roles singers with opportunities in opera, concerts acclaimed Opera in English series sponsored by (La traviata), Pistol (Falstaff ) and Zaretsky such as Masetto (Don Giovanni), Figaro and and theatre productions in the UK. the Peter Moores Foundation.

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One of the world’s great , the which is a commitment to performing and Paul Daniel, in demand with both opera Director of the company in 1997 he has led is now in its sixth commissioning new music by today’s leading companies and orchestras worldwide, has performances of The Flying Dutchman, La season with renowned German composers. appeared as a guest conductor with orchestras traviata, Il trovatore, Otello, Falstaff, Manon, Christoph von Dohnányi as Principal An increasing number of the Orchestra’s throughout Europe and North America. The Tales of Hoffmann, Boris Godunov, Der Conductor. That post was first held by Otto concerts are being broadcast by BBC Radio 3, After having been Music Director of Opera Rosenkavalier, Pelleas and Melisande, From the Klemperer, and the Orchestra has since had including its annual performance at the BBC Factory from 1987 to 1990, he held the same House of the Dead, Dialogues of the Carmelites, important collaborations with Proms. As the world’s most recorded post with Opera North from 1990 to 1997, Lulu, Peter Grimes, , Nixon in (as Associate Principal Conductor), Riccardo symphony orchestra, with over 1000 releases winning critical acclaim for exciting and fresh , the world premiere of The Silver Tassie Muti (as Principal Conductor and Music to its credit, among these a number of performances of Don Giovanni, Medea, by Mark-Anthony Turnage and concert Director), (as Music television and feature film soundtracks, the Tannhäuser, Luisa Miller, Il trovatore, Don performances of Ponchielli’s La gioconda. Director) and, currently, Philharmonia Orchestra enjoys a worldwide Carlos, Falstaff, Boris Godunov, Pelléas et He has also conducted Mitridate, re di Ponto (as Conductor Emeritus), Vladimir Ashkenazy reputation. The discography includes, for Mélisande, Jenu˚fa, Dukas’s Ariane et Barbe- at The Royal Opera, Covent Garden, Béatrice et (as Conductor Laureate) and Sir Charles Opera Rara, several recital discs as well as Bleue, Schreker’s , Wozzeck, Bénédict and Khovanshchina at Théâtre royal de Mackerras (as Principal Guest Conductor), eleven complete operas, and for Chandos, in Gloriana, Tippett’s King Priam and the world la Monnaie in Brussels, and Duke besides such eminent figures as Wilhelm the Opera in English series sponsored by the premieres of Michael Berkeley’s Baa Baa Black Bluebeard’s Castle at Grand théâtre de Genève, Furtwängler, Richard Strauss, Arturo Peter Moores Foundation, Don Giovanni, The Sheep and Benedict Mason’s Playing Away. As King Priam at Opéra de Nancy, and Le nozze di Toscanini, Guido Cantelli, Herbert von Elixir of Love, Lucia of Lammermoor, , its Principal Conductor he led the English Figaro, Kát’a Kabanová and the world premiere Karajan and . It continues Carmen, Aida, La bohème, Madam Butterfly, Northern Philharmonia, Opera North’s of Hans-Jürgen von Bose’s Schlachthof V at to engage world-class conductors and soloists, Turandot, the award-winning Tosca and solo resident orchestra, in numerous concerts Bayerische Staatsoper in Munich. and attracts Europe’s most talented young recital albums of operatic with Bruce throughout the UK and at festivals abroad. For Chandos Paul Daniel has recorded a players to join its orchestral ranks. Ford, Diana Montague, Dennis O’Neill, During his early association with English disc of vocal and orchestral works by Thomas Resident Orchestra at the Royal Festival , and John National Opera he conducted the world Armstrong and, in the Opera in English series Hall, it maintains a central position in British Tomlinson. The Philharmonia Orchestra premiere of Sir Harrison Birtwistle’s The Mask sponsored by the Peter Moores Foundation, musical life also through regional residencies continues to consolidate its international of Orpheus as well as productions of Figaro’s Falstaff and highlights from Boris Godunov. In which provide an ideal opportunity to expand renown through regular tours and through Wedding, Rigoletto, Carmen, Tosca, Philip February 1998 Paul Daniel received an Olivier a dynamic educational and community-based recent prestigious residencies at the Châtelet Glass’s , and performances of King Award for outstanding achievement in opera, programme. Winner of numerous awards, it Théâtre Musical in Paris, the Megaron in Priam as part of Tippett’s ninetieth birthday and he was awarded the CBE in the 2000 has garnered unanimous critical acclaim for its Athens and the Lincoln Center for the celebrations. Since his appointment as Music New Year’s Honours List. innovative programming policy, at the heart of Performing Arts in New York.

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £85 million of his own money through and Christ Church, Oxford, where he studied Italian and German. He the Foundation and the Peter Moores Charitable Trust – ‘to get things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management 's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo , Naples, true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Rome Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over two In 1957 he joined his father’s business, Littlewoods, becoming hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation acquired Compton Verney, an eighteenth-century mansion, and Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish established the Compton Verney House Trust, an independent charity which it funded in order to Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from transform the mansion into an art gallery designed especially to encourage newcomers to the visual Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern arts. Alongside major international touring exhibitions, it will house permanent collections of College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by North European art, Neapolitan paintings and one of the finest collections of archaic oriental HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 bronzes in the UK, as well as a British Portrait Collection and a British Folk Art Collection. The and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his gallery is scheduled to open in Spring 2004. charitable services to the arts. Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live recording of the ‘Goodall Ring’ at the in the 1970s, the Foundation has enabled PETER MOORES FOUNDATION some eighty recordings to be produced: ’ Opera in English series – ‘Opera that Peter Moores’ philanthropic work began with his for opera: in his twenties he identified speaks your language’ – is now the largest recorded collection of operas sung in English whilst and helped a number of young artists in the crucial, early stages of their careers, several of whom Opera Rara’s recordings of rare operas have opened up an immensely rich repertory – Dame , Sir and the late Sir amongst them – became previously only accessible to scholars. In live performance, the Foundation has encouraged the world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to creation of new work and schemes to attract new audiences, financing the publication of scores develop his charitable aims, not only in music and the visual arts, but also in education, health, and enabling rarely heard works to be staged by British opera companies and festivals.

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Andrew Shore as Wozzeck in Opera North’s production of Berg’s opera Dame Josephine Barstow as Marie in Opera North’s production of Wozzeck CHAN 3094 BOOK.qxd 11/4/07 3:14 pm Page 30

sondern leidenschaftlich; ganz besonders war Korrigieren!’, dass ich rauche, dass ich mir nicht Berg: Wozzeck das in der Zeit zwischen der Vollendung der einbilden solle, mit Wozzeck Erfolg zu haben, da Oper im Jahr 1921 und der Uraufführung er zu schwierig ist. Als der Schriftsteller Georg Büchner doch es kam zu keiner Aufführung. Gustav 1925 der Fall. Man muss realisieren, dass Bergs Sogar Schönbergs Gratulationsbrief nach (1813–1837), von Natur aus ein Revolutionär, Mahlers Witwe Alma bezahlte den Notenstich erstaunliche Leistung damals nur von einigen seinem ersten Besuch der Berliner mit dreiundzwanzig Jahren starb, hatte er für den Klavierauszug, für den Druck eines Freunden und Adepten im Kreis seines Lehrers Inszenierung war gespickt mit kritischen lediglich fünf Werke abgeschlossen. Das “Subskriptionsaufrufs”, der an verschiedene Arnold Schönberg richtig erkannt wurde. Das Bemerkungen über die Vorstellung und Manuskript des Wozzeck tauchte erst 1875 Dirigenten und Intendanten versandt wurde, Werk wurde auch nach 1933 von einer kleinen Ratschlägen über Revisionen der Partitur. auf – in chaotischem Zustand und dermaßen kam Berg selbst auf. Zunächst war die Aktion aber enthusiastischen Gefolgschaft gewürdigt, Noch viele Jahre nach Bergs Tod konnte unleserlich, dass sich erst nach der erfolglos, doch schließlich zeigte der neue doch unter der NS-Zeit fiel es gänzlich in Schönberg nicht umhin, seine Würdigung mit Veröffentlichung von Alban Bergs Oper Generalmusikdirektor der Berliner Oper, Erich Ungnade. Nach 1945 gab es noch immer einem Vorbehalt zu relativieren; es habe ihn herausstellte, dass der Titel eigentlich Woyzeck Kleiber, Interesse. Angeblich war er von der Länder, die nicht zur Sache Wozzeck bekehrt sehr überrascht, dass dieser weichherzige, lautete. Die Themen Ausbeutung der Armen Partitur so beeindruckt, dass er schon nach der waren. Fast siebzig Jahre nach der Uraufführung schüchterne junge Mann es gewagt habe, sich und das existentielle Problem des Leidens lassen zweiten Szene im Ersten Akt erklärte: “Die heftete Paul Daniel den Namen Wozzeck an sein auf ein Unternehmen einzulassen, das einen auf einen prophetischen Gehalt in Büchners Oper mache ich in Berlin, und wenn’s mich Manifesto, als er in den 1990er Jahren sein Amt Fehlschlag herausforderte; den Wozzeck zu Œuvre schließen, der Émile Zolas Werke auf meine Stellung kostet!” Mittlerweile regte der als GMD an der Opera North in antrat. komponieren, ein derart tragisches Drama, diesem Gebiet um viele Jahrzehnte vorausahnte. Dirigent Hermann Scherchen den Berg verehrte seinen Lehrer Arnold dass eine Vertonung geradezu ausgeschlossen 1914 besuchte Alban Berg eine Vorstellung Komponisten an, eine Suite Schönberg beinahe wie einen Guru, doch schien … Er habe es geschafft. Wozzeck sei von Büchners Drama und fasste den zusammenzustellen, die sogenannten “Drei dieser verhielt sich zunächst recht ambivalent einer der größten Erfolge der Opernbühne. Beschluss, Wozzeck zu vertonen, doch die Bruchstücke aus Wozzeck”, die er 1924 zu Wozzeck. Berg war äußerst besorgt über Das Interregnum zwischen dem Abschluss der Arbeit wurde durch den Ausbruch des Ersten konzertant aufführte. Dennoch war die Schönbergs eventuelle Einmischung in seine Partitur und der ersten Inszenierung war die Weltkriegs, in dem Berg diente, unterbrochen. wiederholte Zurückweisung der Oper seitens Arbeit – anscheinend befürchtete er sogar einzige Zeit, in der die Beziehungen zwischen Das Particell war 1921 fertig, die Partitur im der Intendanten und Musikdirektoren den dessen Ankunft in Wien, falls er auf einer Berg und seinem verehrten Lehrer Schönberg April 1922. Im Jahr 1923 erklärte sich der Verfechtern des Werks nicht entgangen. Durchsicht der Partitur bestehen sollte. Selbst etwas gespannt waren. Verlag Universal Edition zur Veröffentlichung Wozzeck ist seit jeher eine “Sache”, an die 1923, als er noch immer Änderungen daran Als Wozzeck im Dezember 1925 in Berlin bereit. Im gleichen Jahr spielte der Musikliebhaber glauben und für die sie sich vornahm, schrieb er an seine Frau: uraufgeführt wurde, war Kleiber ausgezeichnete Pianist Eduard Steuermann, einsetzen, entweder um sie zu inszenieren oder Schönberg war wieder unleidlich, kritisierte alles fünfunddreißig Jahre alt und daher neuer der mit Berg befreundet war, die Oper den weil sie andere Leute dafür gewinnen wollen. an mir; dass ich noch immer am Wozzeck Musik zugänglich; in der Tat wurde die Oper Intendanten in Frankfurt und Darmstadt vor, Das Engagement der Anhänger ist nie lauwarm, arbeite, ‘das ist Karl Krausisch, dieses ewige das A und O seines musikalischen Kredos. Die

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Berliner Korrepetitoren berichteten wiederholt späterer Aufführungen war recht uneinheitlich, der Kategorie “Kulturbolschewismus” und “Sprechstimme” lässt sich als musikalisch von seiner unendlichen Sorgfalt und Geduld aber immerhin kam die Oper bei gewissen “entartete Kunst” zum Opfer. definierte Sprache mit genau vorgeschriebenem bei den unwahrscheinlich vielen Proben, bei Kreisen so gut an, dass der Komponist laut dem Rhythmus und Tonhöhe bezeichnen, aber: denen er darauf bestand, dass der Pianist auf Kritiker und Philosophen Theodor Adorno Die musikalische Organisation der Ausführende gibt die Tonhöhe zwar im gewisse Rhythmen achten oder eine bestimmte vertröstet werden musste – wenn die Oper so Als Schönberg-Schüler war Bergs musikalischer Augenblick der Artikulation an, verläßt sie aber Note in einem Akkord betonen solle, um dem gut gefiele, könne etwas daran nicht stimmen! Stil sehr von vielen theoretischen und durch Fallen und Steigen wieder, wie bei dem Sänger behilflich zu sein. Als Kleiber sich In Berlin wurde Wozzeck zehnmal gegeben; praktischen Prinzipien seines Lehrers natürlichen Sprechen. 1952 für die erste britische Produktion in dann machte die Oper langsam und nie beeinflusst. Die Oper befolgt nicht dessen Wozzeck ist in drei Akten angelegt, die London aufhielt, sprach er über seine reibungslos Fortschritte. Nach der Produktion System der Dodekaphonie, obwohl das jeweils in fünf Szenen gegliedert sind. Die Mitarbeiter in Berlin voll Zuneigung, als ob in Oldenburg im Jahr 1929 wurde sie in der Passacaglia im Ersten Akt aus zwölf Tönen Musik ist durchkomponiert und die sie eine Familie aus alter Zeit seien, und lud fünfzehn anderen deutschen Städten inszeniert, besteht. Er verwendet keine Tonartvorzeichen, Verwandlungsmusik dauert häufig nur ein sogar die dänische Sopranistin Sigrid bevor sie mit der Ankunft des ausgenommen die Verwandlungsmusik paar Sekunden, während derer die Szenen Johanson, die die Partie der Marie kreiert Nationalsozialismus in Ungnade fiel. In zwischen der vierten und fünften Szene im gewechselt werden müssen. hatte, nach London ein, um sich an der wenigen Jahren hatte Berg genügend Tantiemen Dritten Akt. Hingegen macht er ausgiebigen, Der Komponist hat selbst die Beziehung Premierenfeier zu beteiligen. Er trug sich auch bezogen, um sich sein erstes Auto zu leisten (im subtilen Gebrauch von der Sprechstimme, die von Musik und Drama in folgendem mit Gedanken über die Abschaffung von Bergs Alter von fünfundvierzig Jahren!). in Schönbergs Pierrot Lunaire entstand. Diagramm kurz dargestellt: eigener “Reinigung” gewisser Stellen in Ein merkwürdiger Kommentar über Büchners Text – z.B. hatte dieser die Worte Wozzeck, eines der Meisterwerke, wenn nicht Bühne Musik des Doktors “Er hat wieder gepißt” durch das d a s Meisterwerk der Oper des zwanzigsten Erster Akt harmlose, aber in diesem Kontext völlig Jahrhunderts, und die politisch-ästhetische Wozzeck und seine Umwelt Fünf Charakterstücke sinnlose “gehustet” ersetzt. Es wurde aber Haltung in Deutschland unter den Nazis: Wozzeck und der Hauptmann 1. Szene Suite nichts daraus. Schon 1933 war Bergs Oper in Deutschland Wozzeck und Andres 2. Szene Rhapsodie Während der Berliner Proben steigerte sich faktisch verboten. Heute wird oft übersehen, Marie und Wozzeck 3. Szene Militärmarsch und Wiegenlied Bergs Aufregung bis zur Euphorie, desgleichen dass seine zweite Oper, Lulu, nicht in Wozzeck und der Doktor 4. Szene Passacaglia seine Begeisterung für die Ausstattung, Deutschland uraufgeführt wurde, sondern in Marie und der Tambourmajor 5. Szene Andante affettuoso (quasi Rondo) Inszenierung und Besetzung, vor allem aber für Zürich (1937, also zwei Jahre nach dem Tod Kleibers Einblick in die Musik und seine des Komponisten). Auch Hindemith war in Zweiter Akt Geduld bei den vielen Problemen bei der der Nazi-Zeit in Ungnade; er und Berg fielen Dramatische Entwicklung Sinfonie in fünf Sätzen Einstudierung. Die Rezeption der Premiere und der offiziellen Verurteilung ihres Œuvres unter Marie, Kind, später Wozzeck 1. Szene Sonatensatz

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Hauptmann, Doktor, später Wozzeck 2. Szene Fantasie und Fuge Trovatore sei! Man kann den Idealen des Orchester als Kommentar zu Wozzecks Marie und Wozzeck 3. Szene Largo Komponisten manchmal nur schwer gerecht Ertrinken und die gewaltige Threnodie in d- Der Wirtshausgarten 4. Szene Scherzo werden, aber der Versuch lohnt sich Moll – alle sind Sternstunden im Musizieren Wachstube in der Kaserne 5. Szene Rondo marziale con introduzione unbedingt. des vergangenen Jahrhunderts: nicht nur in 1949 hörte ich die Musik in einer der Musik des zwanzigsten Jahrhunderts, Dritter Akt konzertanten Aufführung unter der Leitung sondern auch des Musikdramas, der Gattung Katastrophe und Epilog Sechs Inventionen von Sir Adrian Boult zum ersten Mal und war Oper in ihrer ausdrucksstärksten, mächtigsten Marie und das Kind 1. Szene Invention über ein Thema sofort hingerissen: von den volkstümlichen Gestalt. Marie und Wozzeck 2. Szene Invention über einen Ton Stellen (Andres im Ersten Akt, zweiten Szene Eine Schenke 3. Szene Invention über einen Rhythmus oder Margret im Dritten Akt, dritten Szene); © 2003 The Earl of Harewood Wozzecks Tod 4. Szene Invention über einen Sechsklang von den lyrischen Partien der Marie (das Übersetzung: Gery Bramall Orchester-Epilog Invention über eine Tonart Wiegenlied im Ersten Akt, zweiten Szene oder Spielende Kinder 5. Szene Invention über eine im Dritten Akt, ersten Szene, während sie in Handlung Achtelbewegung der Bibel liest); von der satirischen Faktur des Wozzeck ist die Geschichte eines einfachen, Doktors und des Hauptmanns; von den neurotisch veranlagten Mannes mit anschaulichen Szenen im Freien (Erster Akt, ungeschulten Instinkten, den nicht Allerdings warnte er in einem 1928 in der Suiten- und Sonatensätzen, Variationen und zweite Szene; Zweiter Akt, vierte Szene); und ausschließlich von ihm verursachte Probleme Neuen Musik-Zeitung veröffentlichten Artikel, Passacaglien merkt – keinen, der von etwas von der ausdrucksstarken Dramatik bei und die Machenschaften und Manöver den Willi Reich in seinem Buch über Berg anderem erfüllt ist, als von der weit über das sämtlichen Begegnungen von Wozzeck und seiner Mitmenschen bedrängen. Die abdruckte, all diejenigen, die in Versuchung Einzelschicksal Wozzecks hinausgehenden Idee Marie. Ich meine sogar, dass ich den Dritten Handlung spielt in Deutschland Mitte der geraten, Wozzeck während der Aufführung im dieser Oper. Akt von Anfang bis Ende, von der solistischen 1830er Jahre. Kopf zu analysieren: Natürlich lässt sich Wozzeck nicht leicht Partie der Marie bis zum Kind auf seinem Mag einem noch soviel davon bekannt sein, was singen, aber Berg war die Vorstellung einer Steckenpferd (“Hopp, hopp!”) sofort an COMPACT DISC 1 sich im Rahmen dieser Oper an karikierten Gesangslinie mit beinahe prominenter Stelle in meine Lieblingsopern musikalischen Formen findet … von dem unzugänglichen Tönen bzw. Stil verhasst. Fast einreihte. Die erschütternde Szene von Marie Erster Akt Augenblick an, wo sich der Vorhang öffnet, bis nach jeder Erstaufführung seiner Oper und Wozzeck, die beiden großen Orchester- Szene 1 zu dem, wo er sich zum letzten Male schließt, berichtete der Komponist begeistert über Crescendi auf der Note H nach ihrem Mord, Zimmer des Hauptmanns darf es im Publikum keinen geben, der etwas die “klassische” Qualität des Gesangs – es die manische Rhythmik der Szene in der Der Hauptmann wird von seinem von diesen diversen Fugen und Inventionen, müsse gesungen werden, als ob es der Schenke, die steigende Chromatik im Offiziersburschen Wozzeck rasiert. Er macht

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dem verwirrten Wozzeck Vorwürfe: warum Militärmusik. Der Tambourmajor winkt ihr COMPACT DISC II zu Marie ihm bekannt ist. Mit dem Doktor diese Hast? “Was soll ich denn mit den zehn zu. Ihre Nachbarin Margret macht gehässige beginnt er, Wozzeck zu peinigen: Hat er Minuten anfangen, die Er heut’ zu früh fertig Bemerkungen über Mariens Interesse an den Zweiter Akt vielleicht ein Barthaar in seiner Schüssel wird?” Und später: “Wozzeck, Er ist ein guter Soldaten. Marie schmeißt das Fenster zu und Szene 1 gefunden? Wozzeck reagiert sehr heftig: Er ist Mensch, aber Er hat keine Moral! … Er hat singt ihrem Kind ein lyrisches Wiegenlied. Mariens Stube ein armer Teufel und hat sonst nichts auf ein Kind ohne den Segen der Kirche.” Wozzeck klopft ans Fenster, aber er ist in Marie bewundert ihre neuen Ohrringe, dann dieser Welt. Der Doktor will ihm den Puls Wozzeck erwidert, dass der liebe Gott das großer Eile und sieht das Kind nicht einmal versucht sie, das Kind einzuschläfern. Wozzeck fühlen, aber er stürzt davon; Doktor und Kind deshalb nicht verwerfen wird, und zitiert an. kommt dazu und schöpft Verdacht, als sie Hauptmann sind erstaunt und betreten. aus der Bibel: “Lasset die Kleinen zu mir erklärt, die Ohrringe gefunden zu haben: So kommen!” Der Hauptmann ist gereizt, seine Szene 4 etwas habe er noch nie gefunden, und gleich Szene 3 Stimme klettert bis zum hohen C. “Wir arme Studierstube des Doktors zwei auf einmal! Er händigt ihr die Löhnung Straße vor Mariens Wohnungstür Leut!” fährt Wozzeck fort; Leute wie er Wozzeck verdient sich als Versuchskaninchen aus, die er vom Hauptmann und dem Doktor Der langsame Satz der Sinfonie (Largo) spielt vor können sich keine moralische Art leisten. Der für die diätetischen Experimente des erhalten hat, und geht fort. Marie ist bedrückt, dem Haus der Marie. Die Besetzung entspricht Hauptmann ist sicher, dass Wozzeck zu viel Doktors etwas Geld. Der Vorwurf, dass dass sie ihn betrogen hat. der von Schönbergs Kammersymphonie Nr. 1 denkt. er sich nicht an die Regeln hält, erregt op. 9, d.h. fünfzehn Solisten.Wozzeck stellt ihn. Auf sein wirres Reden sagt ihm der Szene 2 Marie zur Rede: “Du bist schön ‘wie die Sünde’. Szene 2 Doktor, dass er noch ins Narrenhaus Straße in der Stadt Aber kann die Todsünde so schön sein, Marie? Freies Feld kommen werde. Aber schließlich Der Doktor ist pressiert, aber der Hauptmann Hat er [der Tambourmajor] da gestanden?” Spätnachmittag. Wozzeck und sein Freund interessiert ihn der Ruhm, den ihm seine hält ihn auf. Nun muss er sich die Geschichte Marie antwortet, dass viele Menschen an einem Andres schneiden Stöcke im Gebüsch. Theorien einbringen werden, mehr als sein tödlicher Krankheiten von dessen Patienten Platz stehen können. Wozzeck geht auf sie zu. Wozzeck hat Visionen, er vermeint, die Patient. anhören. Dem Hauptmann selbst drohe in “Lieber ein Messer in den Leib, als eine Hand Intrigen der Freimaurer zu erblicken und ist nächster Zeit ein Schlaganfall, das erkenne er auf mich. Mein Vater hat’s nicht gewagt, wie ich überzeugt, dass die roten Strahlen der Szene 5 an seiner Gesichtsfarbe und Beleibtheit. Der zehn Jahr alt war.” untergehenden Sonne die Welt in Brand Straße vor Mariens Tür Hauptmann malt sich in lyrischen Tönen stecken. Der Tambourmajor stolziert daher, um Marie seinen Nachruf aus. Szene 4 zu beeindrucken. Er versucht, sie zu umarmen, Wozzeck tritt auf, “Er läuft ja wie ein Wirtshausgarten. Paare tanzen einen langsamen Szene 3 und zunächst reißt sie sich los. Schließlich gibt offenes Rasiermesser durch die Welt” meint Ländler Die Stube von Wozzecks Geliebter Marie sie doch nach: “Meinetwegen, es ist Alles der Hauptmann. Das Rasieren erinnert ihn an Zwei betrunkene Handwerksburschen singen Marie bewundert eine vorbeiziehende eins!” den bärtigen Tambourmajor, dessen Beziehung ein rührseliges Lied über den Branntwein.

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Wozzeck erblickt Marie, die mit dem Dritter Akt Hand. Er sucht es zu kaschieren, stürzt aber Andrew Shore (Wozzeck) gilt als führender Tambourmajor tanzt; er will sich auf den Szene 1 bald hinaus. Buffobariton Großbritanniens und als einer Tanzboden stürzen, aber die Musik verstummt Mariens Stube. Nacht der besten singenden Schauspieler. Er ist an und , allen voran Andres, Eine Solobratsche spielt das Thema an, Szene 4 der English National Opera, Royal Opera stimmen ein lustiges Jägerlied an. Der Erste während Marie die Geschichte der Maria Waldweg am Teich Covent Garden, Opera North, Glyndebourne Handwerksbursch predigt sinnloses Zeug im Magdalena liest und mit ihrem eigenen Leben Wozzeck sucht nach dem Messer und stößt Festival Opera, Scottish Opera und Welsh ; dann nähert sich ein Narr der vergleicht. Während der Bibellesung dabei auf Mariens Leiche. Endlich findet er es National Opera aufgetreten. Bank, auf der Wozzeck sitzt und singt “Lustig, verwendet sie die Sprechstimme, aber der und wirft es in den Teich. Dann watet er ins Auslandsverpflichtungen haben ihn an die San lustig, … aber es riecht … ich riech Blut!” – wunderbare Kommentar zu dem, was sie Wasser, um sich das Blut abzuwaschen, und Diego Opera, New Israeli Opera, Opéra eine außerordentlich wichtige Partie, obwohl gelesen hat, wird gesungen. ertrinkt. Der Doktor und der Hauptmann national de Paris-Bastille, Opéra Comique und sie nur aus dreizehn Noten besteht. Der Tanz kommen herbei. Sie hören seltsame Klänge – an das Gran Teatre del Liceu in Barcelona setzt wieder ein und Wozzeck sieht rot vor den Szene 2 wie wenn ein Mensch ertrinkt, meint der sowie nach Lyon, Nantes, Montpellier, Augen, der Gedanke an Blut lässt ihn nicht Waldweg am Teich; es dunkelt Doktor. Kopenhagen, Amsterdam, Santa Fe, Vancouver los. Wozzeck geht mit Marie in die Stadt; er fragt Der große Orchester-Epilog in d-Moll, der und Ottawa geführt. Sein umfangreiches sie, wie lang es her ist, dass sie sich kennen. Sie Höhepunkt der Oper, ist ein Lamento für Repertoire umfasst die Titelrollen in Don Szene 5 will fort, aber er lässt sie nicht gehen. Wozzeck. Pasquale, Falstaff, Gianni Schicchi, Wozzeck Wachstube in der Kaserne. Nacht Schließlich zieht er ein Messer und stößt es ihr und King Priam sowie Figaro (Le nozze di Die Soldaten schnarchen; Wozzeck jammert in den Hals. Die anschließende Szene 5 Figaro), Don Alfonso (Così fan tutte), Andres die Ohren voll, er könne nicht Verwandlungsmusik besteht aus zwei langen Vor Mariens Tür Papageno (Die Zauberflöte), Dulcamara schlafen, dauernd sehe er den Tanzboden vor Crescendi auf dem Ton H: zunächst ganz leise Kinder spielen und singen lärmend; Mariens (L’elisir d’amore), Dr. Bartolo (Il barbiere di sich. Der Tambourmajor poltert herein, auf dem Solohorn, dann im ganzen Orchester. Knabe reitet auf einem Steckenpferd. Dann Siviglia), Baron Trombonok (Il viaggio a brüstet sich über seine Eroberung und fordert kommen andere Kinder herbeigestürmt, um zu Reims), Warlaam (Boris Godunow), Zar Dodon Wozzeck auf mit ihm zu trinken. Dieser Szene 3 berichten, dass Marie tot aufgefunden worden (Der goldene Hahn), Baron (La Vie Parisienne), wendet sich ab, aber der Tambourmajor Eine Schenke ist. Alle laufen davon. Der Knabe versteht nicht, Frank (Die Fledermaus), Faninal reißt ihn hoch, sie ringen miteinander und Der Vorhang hebt sich unmittelbar über der worum es geht; er spielt ein wenig weiter, dann (Der Rosenkavalier), Dikoj (Katja Kabanowa), er verprügelt ihn. Andres ruft aus: “Er blut’” dritten Szene, in der ein Bursche auf einem reitet er den anderen nach. Der Vorhang fällt. Dr. Kolenat´y (Die Sache Makropulos), und Wozzeck hält seine Worte für eine verstimmten Pianino eine Schnellpolka spielt. Sˇisˇkov (Aus einem Totenhaus), Leander Fügung des Schicksals: “Einer nach dem Wozzeck trinkt, dann macht er sich an © 2003 The Earl of Harewood (Die Liebe zu den drei Orangen), Mr. Flint Andern!” Margret heran. Sie bemerkt das Blut an seiner Übersetzung: Gery Bramall (Billy Budd ), Mr. Gedge (Albert Herring) und

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George Wilson (The Great Gatsby). Außerdem war als Miss Wingrave in einer Fernsehversion Der Tenor Alan Woodrow (Tambourmajor) Die Mezzosopranistin Jean Rigby (Margret) hat er Alberich in Konzertaufführungen von von Owen Wingrave unter der Leitung studierte am Royal Conservatory of Music in studierte an der Birmingham School of Music Das Rheingold gesungen. Unter seinen von Kent Nagano zu sehen und sang die Toronto und am London Opera Centre. und später an der bei Schallplattenaufnahmen sind besonders Rolle der Benigna Schuller in der Neben vielen anderen Rollen hat er Canio Patricia Clarke, mit deren Hilfe sie ihre hervorzuheben Leporello (Don Giovanni), Welturaufführung von Pendereckis (Pagliacci), Hermann (Pique Dame), Don José Stimme weiter entwickelt. Im Laufe ihres Dulcamara (L’elisir d’amore), die Titelrolle in bei den Salzburger (Carmen), Herodes (Salome), Bacchus (Ariadne langjährigen Wirkens an der English National Don Pasquale, Dr. Bartolo (Il barbiere di Sommerfestspielen; danach wurde sie von auf Naxos), Fürst Andrei (Chowanschtschina) Opera hat sie Amastris (), Rosina Siviglia), die Titelrolle in Falstaff, Benoit Karajan auch zur Mitwirkung in Tosca und und Edmund (Aribert Reimanns Lear) an der (Il barbiere di Siviglia), Maddalena (Rigoletto), (La bohème), der Mesner (Tosca) und Faninal Un ballo in maschera eingeladen. In English National Opera, den Tambourmajor Carmen, Octavian (Der Rosenkavalier), Jocasta (Auszüge aus Der Rosenkavalier), alle für Großbritannien ist sie an der Royal Opera (Wozzeck) an der Opera North und Herodes (Oedipus Rex) und Helen of Troy (King Priam) Chandos in der Reihe “Opera in English” mit Covent Garden, English National Opera, an der Scottish Opera gesungen. Weitere gesungen. Sie gastiert regelmäßig an der Unterstützung durch die Peter Moores Opera North und Welsh National Opera Rollen waren Sergej (Lady Macbeth von Glyndebourne Festival Opera, wo man sie als Foundation. aufgetreten, auf dem europäischen Festland Mzensk) an der Opéra national de Paris- Emilia (Otello) und Geneviève (Pelléas et hat man sie an die Pariser Opéra, Bayerische Bastille, Oper Frankfurt und Mailänder Scala, Mélisande) gehört hat, sie hat Nicklausse Höhepunkte in der Laufbahn von Dame Staatsoper München, Nederlandse Opera, Florestan (Fidelio) am Stadttheater Bern, (Les Contes d’Hoffmann) an der Royal Opera Josephine Barstow (Marie) waren Salome, Vlaamse Opera sowie nach Lissabon, Ägisth (Elektra) und der Kaiser (Die Frau ohne Covent Garden, Isabella (L’italiana in Algeri) Tosca, die Lady Macbeth von Verdi und von Barcelona und Palermo verpflichtet, und in Schatten) am Stadttheater Basel und an der beim Buxton Festival sowie Angelina Schostakowitsch sowie die verschiedensten Amerika hat sie an der Metropolitan Opera Bayerischen Staatsoper München, der Kaiser (La Cenerentola) und Idamante (Idomeneo) an Rollen in Opern von Komponisten wie New York, San Francisco Opera, Lyric Opera an der Deutschen Oper Berlin, Rienzi und der Garsington Opera gesungen. Außerdem ist Mozart, Beethoven, Verdi, Puccini, Janácˇek of Chicago und Houston Grand Opera Siegfried am Gran Teatre del Liceu in sie an der Nederlandse Opera, Vlaamse Opera, und Richard Strauss. In neuerer Zeit hat sie gesungen. Die außerordentlichen Fähigkeiten Barcelona, Tannhäuser am Teatro Massimo in Seattle Opera und San Diego Opera die Titelrollen in Medea und Aida, die Gräfin dieser singenden Schauspielerin wurden Palermo, Tannhäuser und Bacchus am Teatro aufgetreten und hat gerade erst Eduige (Pique Dame), Mrs. Alice Ford (Falstaff ), 1985 mit dem Verdienstorden CBE San Carlo in Neapel sowie Siegfried bei den (Rodelinda) am Châtelet Théâtre Musical unter Kostelnicˇka (Jenu˚fa), Kabanicha (Katja anerkannt, und im selben Jahr erhielt sie (erst Tiroler Festspielen und am Théâtre du der Leitung von William Christie gesungen. Kabanowa), Emilia Marty (Die Sache als sechste Person überhaupt) die Fidelio- Capitole in Toulouse. Außerhalb Europas hat Ihre Chandos-Diskographie umfasst Makropulos), Marie (Wozzeck), Mutter Maria Medaille der International Opera Directors man ihn an der Seattle Opera, Opera Omaha, Mendelssohns Paulus, A Mass of Life von (Dialogues des Carmélites), Ellen Orford (Peter Association; 1995 wurde sie zur Dame San Diego Opera, mit der Canadian Opera Delius, Brittens The Rape of Lucretia und in Grimes), Lady Billows (Albert Herring) und Commander of the Order of the British Company und an der New Israeli Opera in Tel der Reihe “Opera in English”, mit Queen Elizabeth I. (Gloriana) gesungen. Sie Empire erhoben. Aviv erlebt. Unterstützung durch die Peter Moores

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Foundation, Maddalena und Suzuki (Madama (La finta giardiniera) und in der Titelrolle von Mélisande), Doktor (Wozzeck), Sir Walter (Ariadne auf Naxos) und Albert Herring an der Butterfly). Idomeneo. Außerdem hat man ihn auf Opern- Raleigh (Gloriana) und Referee (Benedict Royal Opera Covent Garden, Kudrásˇ (Katja und Festspielbühnen in Europa und Masons Playing Away) gesungen. An der Kabanowa) und Bob Boles (Peter Grimes) an Stuart Kale (Hauptmann) gilt international als Nordamerika als Ägisth (Elektra), English National Opera erinnert man sich der Glyndebourne Festival Opera, Cassio einer der besten singenden Schauspieler. Er Tambourmajor (Wozzeck), Sinowi (Lady an ihn als Cadmus (Semele), Ferrando (Otello) und Valzacchi (Der Rosenkavalier) an studierte am London Opera Centre mit einem Macbeth von Mzensk), Captain Vere (Billy (Il trovatore), Pistol (Falstaff ), die vier der Welsh National Opera, Ferrando (Così fan Stipendium der Peter Moores Foundation und Budd ) und Leprakranken (Messiaens Saint dämonischen Gegenspieler (Les Contes tutte) und Gustav von Aschenbach (Death in begann seine Karriere an der Welsh National François d’Assise) erlebt. Seine Diskografie d’Hoffmann), Arkel, Doktor (Wozzeck), und Venice) an der Glyndebourne Touring Opera Opera, bevor er der English National Opera umfasst Otello, Falstaff, Madama Butterfly, Collatinus (The Rape of Lucretia). Er hat Don sowie Eisenstein (Die Fledermaus) und den beitrat, wo er in seinen acht Jahren u.a. Don Osid und Auszüge aus Boris Godunow, alle für Fernando in Konzertaufführungen von Fidelio Schulmeister (Das schlaue Füchslein) an der Ottavio (Don Giovanni ), Alfred (Die Chandos in der Reihe “Opera in English” mit unter der Leitung von Walter Weller gesungen Scottish Opera gesungen. Zur Zeit gehört er Fledermaus), Michel (Martinu˚s Julietta) und Unterstützung durch die Peter Moores und ist sowohl mit der Glyndebourne Festival der English National Opera an, wo man ihn Nanki-Poo (The Mikado) sang; später gastierte Foundation. Opera als auch der Glyndebourne Touring als Monostatos (Die Zauberflöte), Mime er dort als Dr. Caius (Falstaff ), Herodes Opera aufgetreten. Auslandsstationen waren (Das Rheingold ), Goro (Madama Butterfly), (Salome) und Truffaldino (Die Liebe zu den Seit seiner Ausbildung am Royal Northern De Nederlandse Opera, Seattle Opera, Herodes (Salome), Heruntergekommener drei Orangen). Er ist an der Royal Opera College of Music, wo er Peter Moores Bayerische Staatsoper München sowie Bauer (Lady Macbeth von Mzensk), Alwa Covent Garden als Oberpriester (Idomeneo), Stipendiat war und Claggart in einer Lissabon, Lausanne und Toulouse. Seine (Lulu) und Lysander (A Midsummer Night’s Guillot (Manon), Schulmeister und Mücke Inszenierung von Billy Budd sang, ist der Chandos-Diskographie umfasst Troilus and Dream) erlebt hat. Seine Auslands- (Das schlaue Füchslein) sowie als Bob Boles Bassist Clive Bayley (Doktor) regelmäßig bei Cressida und Billy Budd sowie in der Reihe verpflichtungen haben ihn u.a. an das Théâtre (Peter Grimes) aufgetreten, an der Welsh namhaften Opernensembles zu Gast. Er “Opera in English” mit Unterstützung durch royal de la Monnaie in Brüssel, De National Opera als Dr. Suda (Janácˇeks Osid debütierte an der Royal Opera Covent Garden die Peter Moores Foundation Don Giovanni, Nederlandse Opera, L’Opéra de Nice, zu den [Schicksal]), am Châtelet Théâtre Musical in in der Uraufführung von Sir Harrison Don Pasquale, Il trovatore, Falstaff, Madama Festspielen von Salzburg und Ravenna sowie Paris als Lucano (L’incoronazione di Poppea), Birtwistles Gawain und war danach als Hans Butterfly, Turandot und Auszüge aus Boris nach Toronto und Vancouver geführt. In der Valzacchi (Der Rosenkavalier) und in den drei Foltz (Die Meistersinger von Nürnberg), Colline Godunow. mit einem Grammy ausgezeichneten Chandos Tenorrollen von Lulu, an der Opéra du Rhin (La bohème) und Castro (La fanciulla del West ) Aufnahme von Peter Grimes singt er Bob Boles. in Straßburg als Schuiski (Boris Godunow), zu erleben. An der Opera North hat er Figaro Der Tenor John Graham-Hall (Der Narr) Alfred, Herodes, Albert Gregor (Die Sache (Le nozze di Figaro), Wurm (Luisa Miller), studierte am King’s College Cambridge und Peter Bronder (Andres) studierte an der Royal Makropulos), Hauptmann (Wozzeck) und Bob Sparafucile (Rigoletto), Ferrando (Il trovatore), am . In Academy of Music und am National Opera Boles sowie in Drottningholm als Podestà Mönch (Don Carlos), Arkel (Pelléas et Großbritannien hat er u.a. den Tanzmeister Studio. Nach einer Saison in Glyndebourne

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trat er als erster Tenor der Welsh National Der 1973 in Glasgow geborene Bassist Iain English National Opera, wo er Rollen wie Die Susan Singh Choristers bieten Kindern Opera bei, wo er in Così fan tutte, Die Paterson (Zweiter Handwerksbursch) studierte Masetto (Don Giovanni), Figaro und Fiorello aus London und dem Süden Englands die Zauberflöte, Il barbiere di Siviglia, I puritani, an der Royal Scottish Academy of Music and (Il barbiere di Siviglia), Marullo (Rigoletto), Gelegenheit, in professionellen Opern-, La traviata, La bohème und Eugen Onegin Drama; mit Unterstützung von Neilson Taylor Donner (Das Rheingold ), Schaunard (Puccinis Konzert- und Theateraufführungen zu singen. sang. In den Rollen von Pylade (Iphigénie en bildet er seine Stimme weiter aus. Er hat La bohème), Colline (Leoncavallos La bohème), Es handelt sich um einen Einladungschor, Tauride), Dr. Caius (Falstaff ), Alfred (Die Figaro (Le nozze di Figaro), Leporello (Don Fürst Yamadori (Madama Butterfly) und Barney dessen Kandidaten vorsingen und bereits über Fledermaus) und Bob Boles (Peter Grimes) Giovanni), Fabrizio (La gazza ladra), Baron (The Silver Tassie) gesungen hat. praktische Erfahrungen verfügen müssen – kehrte er kürzlich dorthin zurück. Man hat Douphol (La traviata), Pistol (Falstaff ) und etwa an der English National Opera, wo Susan ihn als Pedrillo (Die Entführung aus dem Saretski (Eugen Onegin) an der Opera North Richard Stokes unterrichtet Fremdsprachen an Singh als Beraterin in Kinderfragen wirkt, in Serail ), Lord Arturo Bucklaw (Lucia di gesungen, Sparafucile (Rigoletto), Onkel Bonzo der Westminster School. Er unterstützt Sänger der Finchley Children’s Music Group, wo sie Lammermoor) und Cassio (Otello) an der (Madama Butterfly) und Timur (Turandot) an bei der Einstudierung von Kunstliedern und zwei Aufbauchöre leitet, im New London Royal Opera Covent Garden, Graf Almaviva der Welsh National Opera sowie Elviro (Serse), hält regelmäßig Vorträge über Liedkomponisten. Children’s Choir oder in den Jennifer (Il barbiere di Siviglia) und Kudrásˇ (Katja Ferrando (Il trovatore), Fasolt (Das Rheingold ), Er ist Mitverfasser von Büchern über das Lilleystone Singers. Kabanowa) an der English National Opera, Colline (La bohème) und Dachs (Das schlaue deutsche, französische und spanische Lied – The Prunier (La rondine) und Hauptmann Füchslein) an der English National Opera. Fischer-Dieskau Book of Lieder, A French Song Geoffrey Mitchells Gesangskarriere hat ihm (Wozzeck) an der Opera North, als Leicester Companion (mit Graham Johnson) und The ein bemerkenswert breitgefächertes Repertoire (), Rodolfo (La bohème) und Der australische Bariton Leslie John Flanagan Spanish Song Companion – und hat mit Alfred von der alten bis zur neuen Musik beschert Tanzmeister (Ariadne auf Naxos) an der (Erster Handwerksbursch) wurde 1975 in Brendel an einer englischen Übersetzung von und ihn nach Skandinavien, Deutschland, in Scottish Opera und Mr. Upfold (Albert Queensland geboren und studierte am Ein Finger zuviel (engl.: One Finger Too Many) die ehemalige Tschechoslowakei, nach Kanada Herring) an der Glyndebourne Festival Opera Queensland Conservatorium. In Australien sang zusammengearbeitet. Vor kurzem hat er und Australasien geführt. Nachdem er bei der erlebt. Auslandsstationen waren u.a. die er Papageno (Die Zauberflöte), Silvano (Un ballo J.S. Bach – The Complete Church and Secular BBC erste Dirigiererfahrungen gesammelt Bayerische Staatsoper München, Oper in maschera), Krusˇina (Die verkaufte Braut) und Cantatas und eine Übersetzung von Brendels hatte, begann er mit eigenen Sängern zu Frankfurt, De Nederlandse Opera, Théâtre Dancaïre (Carmen). 1997 kam er mit einem Ausgerechnet ich (engl.: The Veil of Order) arbeiten und gründete den Geoffrey Mitchell royal de la Monnaie in Brüssel, Châtelet Stipendium nach Großbritannien, um die veröffentlicht, und Boulez on Conducting ist Choir. Aus ersten Aufnahmen entwickelte sich Théâtre Musical in Paris und San Francisco Alexander Gibson Opera School der Royal angekündigt. Seine Übersetzungen der eine langfristige Zusammenarbeit des Chors Opera. Für Chandos hat er in der Reihe Scottish Academy of Music and Drama zu Gesangstexte von Bergs Wozzeck für die Opera mit Opera Rara, für die er über dreißig “Opera in English” mit Unterstützung durch besuchen, wo er die Titelrolle in Don Giovanni North sowie Wagners Parsifal und Bergs Lulu Tonträger aufgenommen hat. Der Chor die Peter Moores Foundation Pagliacci und sang; zur Zeit studiert er bei Janice Chapman. für die English National Opera wurden von der genießt wachsendes Ansehen und ist bei der Cavalleria rusticana aufgenommen. Seit 1999 ist er erster Nachwuchsbariton an der Kritik äußerst positiv aufgenommen. BBC und internationalen Plattenfirmen

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gefragt. Für Chandos hat der Geoffrey zentrale Position im Musikleben preisgekrönte Tosca und Opernarien in Playing Away seien hervorgehoben. Als Mitchell Choir an zahlreichen Aufnahmen der Großbritanniens ein, nicht nur durch seine Solorecitals mit Bruce Ford, Diana Montague, Chefdirigent der English Northern hervorragend kritisierten Reihe “Opera in Londoner Konzerte, sondern auch durch feste Dennis O’Neill, Alastair Miles, Yvonne Kenny Philharmonia ging er mit diesem English” unter der Schirmherrschaft der Peter Kontakte mit Aufführungsstätten in anderen und aufgenommen. Das Hausorchester der Opera North auf viele Moores Foundation teilgenommen. Teilen des Landes, die eine ideale Gelegenheit Philharmonia Orchestra untermauert seinen Konzertreisen durch Großbritannien und zu für die Erweiterung seines dynamischen und internationalen Rang durch regelmäßige ausländischen Festspielen. Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Tourneen und Gastauftritte an berühmten In der Anfangszeit an der English National großen Orchester der Welt, steht nun bereits Programms bieten. Das Orchester ist mit Häusern wie dem Châtelet Théâtre Musical in Opera leitete er die Welturaufführung von im sechsten Jahr unter der Leitung seines zahlreichen Preisen ausgezeichnet worden und Paris, dem Megaron in Athen und dem Sir Harrison Birtwistles The Mask of Orpheus berühmten deutschen Chefdirigenten hat beispiellose kritische Unterstützung für Lincoln Center for the Performing Arts in sowie Inszenierungen von Le nozze di Figaro, Christoph von Dohnányi. Er setzt eine seine innovative Programmpolitik gewonnen, New York. Rigoletto, Carmen, Tosca, Akhnaten von Philip Tradition fort, die mit begann die in ihrem Kern der Bestellung und Glass sowie Aufführungen von King Priam im und über Lorin Maazel (Erster Gastdirigent), Darbietung neuer Musik von führenden Paul Daniel ist sowohl bei Opernensembles als Rahmen der Feierlichkeiten zum neunzigsten (Chefdirigent und Komponisten unserer Zeit verpflichtet ist. auch bei Orchestern in aller Welt gefragt und Geburtstag Tippetts. Nach seiner Ernennung Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden immer als Gastdirigent überall in Europa und zum Musikalischen Leiter des Ensembles 1997 (Musikalischer Leiter) bis zu Kurt Sanderling häufiger von BBC Radio 3 übertragen, nicht Nordamerika aufgetreten. folgten zahlreiche weitere Auftritte: Der (Emeritierter Dirigent), Vladimir Ashkenazy zuletzt im Rahmen der jährlichen BBC Proms. Er war von 1987 bis 1990 Musikalischer fliegende Holländer, La traviata, Il trovatore, (Ehrendirigent) und Sir Mit über 1000 Schallplattenaufnahmen Leiter der und wirkte dann in Otello, Falstaff, Manon, Les Contes d’Hoffmann, (Hauptgastdirigent) führt, aber auch die verfügt das Philharmonia Orchestra über die gleicher Funktion von 1990 bis 1997 an der Boris Godunow, Der Rosenkavalier, Pelléas et Zusammenarbeit mit Wilhelm Furtwängler, größte Orchesterdiskographie der Welt, die Opera North, wo seine mitreißenden, Mélisande, Aus einem Totenhaus, Dialogues des Richard Strauss, , Guido auch Fernseh- und Filmmusik beinhaltet, und begeistert aufgenommenen Inszenierungen Carmélites, Lulu, Peter Grimes, Krieg und Cantelli, und Carlo genießt weltweit höchstes Ansehen. Das neue Perspektiven eröffneten: Don Giovanni, Frieden, , die Maria Giulini einbezog. Das Orchester Orchester hat für Opera Rara mehrere Recitals Medea, Tannhäuser, Luisa Miller, Il trovatore, Welturaufführung von The Silver Tassie von verpflichtet weiterhin Gastdirigenten und sowie elf komplette Opern eingespielt und in Don Carlos, Falstaff, Boris Godunow, Pelléas et Mark-Anthony Turnage und Solisten von Weltrang, während einige der der Reihe “Opera in English” für Chandos mit Mélisande, Jenu˚fa, Ariane et Barbe-Bleue von Konzertaufführungen von Ponchiellis größten europäischen Nachwuchstalente in Unterstützung durch die Peter Moores Dukas, Schrekers Der ferne Klang, Wozzeck, La gioconda. seine Reihen aufgenommen werden. Foundation Don Giovanni, L’elisir d’amore, Gloriana, Tippetts King Priam und die Außerdem hat er Mitridate, re di Ponto an Das Philharmonia Orchestra ist in der , Faust, Carmen, Aida, Welturaufführungen von Michael Berkeleys der Royal Opera Covent Garden, Béatrice et ansässig und nimmt eine La bohème, Madama Butterfly, Turandot, die Baa Baa Black Sheep und Benedict Masons Bénédict und Chowanschtschina am Théâtre

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royal de la Monnaie in Brüssel, Erwartung und Armstrong aufgenommen und in der Reihe Herzog Blaubarts Burg am Grand théâtre de “Opera in English” mit Unterstützung durch Genève, King Priam an der Opéra de Nancy die Peter Moores Foundation Falstaff und sowie Le nozze di Figaro, Katja Kabanowa und Auszüge aus Boris Godunow eingespielt. Im die Welturaufführung von Hans-Jürgen von Februar 1998 wurde Paul Daniel für seine Boses Schlachthof V an der Bayerischen herausragenden Leistungen auf dem Gebiet Staatsoper München dirigiert. der Oper mit einem Olivier-Preis Für Chandos hat Paul Daniel eine CD mit ausgezeichnet, und zu Neujahr 2000 wurde er Vokal- und Orchesterwerken von Thomas mit dem Verdienstorden CBE geehrt.

Stuart Kale Paul Daniel

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ses débuts sur scène en 1925. N’oublions pas train de travailler à Wozzeck (“très Karl Berg: Wozzeck qu’en ces années-là seuls quelques amis et Krausisch, ces éternelles corrections!”), que je sympathisants appartenant à l’entourage de fume, que je ne devrais pas m’imaginer que L’écrivain Georg Büchner (1813–1837), par Darmstadt, sans qu’il en résulte de promesse de son professeur, Arnold Schoenberg, Wozzeck aura le moindre succès, c’est une œuvre nature révolutionnaire, n’a achevé que cinq représentation. Le piano-chant imprimé (payé reconnaissaient en Berg un remarquable trop difficile. œuvres avant de mourir à l’âge de vingt-trois par la veuve de Mahler, Alma, mais publié aux compositeur. L’œuvre a aussi ses partisans, peu Même dans sa lettre de félicitations à Berg, ans. Wozzeck n’a été retrouvé, sous forme frais de Berg en 1922) est envoyé à différents nombreux, mais enthousiastes, après 1933, après avoir assisté pour la première fois à la manuscrite, qu’en 1875, et dans un tel état directeurs qui l’un après l’autre le refusent, l’opéra connaissant à partir de cette date une production berlinoise, Schoenberg multiplie d’illisibilité et de désordre que c’est seulement jusqu’au jour où Berg parvient à intéresser Erich disgrâce totale en Allemagne, pendant toute la les piques à l’égard de la représentation elle- après la publication de l’opéra d’Alban Berg Kleiber, nouvellement nommé directeur musical période nazie. Après 1945, certains pays même et les allusions aux révisions de la que l’on a découvert que son titre était du Staatsoper de Berlin. On raconte que demandent encore à être “convertis” à la cause partition qu’il recommanderait à son élève. Woyzeck. Des thèmes comme l’exploitation des Kleiber est tellement impressionné par la de Wozzeck. Il y a près de soixante-dix ans que Longtemps après la mort de Berg, Schoenberg pauvres ou le problème existentiel de la partition que, dès la fin de la deuxième scène de l’œuvre lutte pour se faire accepter lorsque, ne pourra se retenir d’accompagner son souffrance suggèrent la nature prophétique de l’acte I, il annonce qu’il montera l’opéra à dans les années 1990, Paul Daniel épingle le satisfecit de quelques réserves. Il écrira (en l’écriture de Büchner, des générations avant Berlin, “quand bien même cela [lui] coûterait nom de Wozzeck à son manifeste avant de anglais) qu’il a été grandement surpris que ce que des auteurs comme Émile Zola se soient [son] poste”. Entre-temps, Hermann Scherchen venir travailler à Opera North. jeune homme tendre et timide ait eu le courage de emparés des mêmes sujets. a demandé à Berg de préparer une suite, Schoenberg, révéré par Berg comme s’engager dans une aventure qui semblait inviter la La composition de Wozzeck, opéra conçu en intitulée “Trois Fragments de Wozzeck”, qu’il professeur et quasiment comme gourou, est malchance; composer Wozzeck, une histoire aussi 1914 après que Berg eut assisté à une dirige en concert en 1924. Mais les partisans de tout d’abord quelque peu partagé dans son extraordinairement tragique qu’elle semblait représentation de la pièce de Büchner, a été l’opéra n’oublieront pas de sitôt les refus répétés attitude à l’égard de Wozzeck. Pendant tout le interdire toute musique […]. Il a réussi. Wozzeck a interrompue par la Première Guerre mondiale, des intendants et des directeurs musicaux. temps où il travaille à son opéra, Berg été l’un des plus grands succès de l’opéra. pendant laquelle Berg a servi comme soldat. Il Wozzeck a toujours tenu de la “cause”, de appréhende véritablement l’interférence de Mais la période d’incertitude entre en achève la musique sous forme de partition l’œuvre à laquelle les gens croient et pour Schoenberg – semblant même avoir redouté l’achèvement de la partition et la première réduite en 1921, terminant la grande partition laquelle ils militent, soit en vue d’obtenir des son arrivée à Vienne, au cas où le maître production de l’opéra est la seule où les en avril 1922. En 1923, Universal Edition représentations, soit pour que d’autres gens y insisterait pour voir la partition. En 1923 relations entre Berg et son révéré Schoenberg entreprend de publier l’œuvre. Dans le courant croient eux aussi. Ses partisans l’ont défendue encore, alors qu’il continue à réviser son opéra, ont été moins que cordiales. de cette même année, Eduard Steuermann, avec ardeur, jamais avec tiédeur, et cela a été Berg écrit à sa femme: À l’époque de la création de Wozzeck à admirable pianiste ami de Berg, joue l’opéra activement le cas dans les années qui ont suivi Schoenberg a de nouveau été intolérable. Il a Berlin en décembre 1925, Kleiber n’a que devant les intendants de Francfort et de l’achèvement de la partition en 1921, jusqu’à critiqué tout ce que je fais: que je sois encore en trente-cinq ans; il est donc susceptible de

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s’intéresser à la musique nouvelle, et de fait pour la production, pour la distribution et, 1933. Nous avons désormais tendance à et 5 de l’acte III, mais il fait un usage Wozzeck deviendra une des œuvres centrales de surtout, pour la compréhension qu’a Kleiber oublier que Lulu, le second opéra de Berg, a considérable et subtil de la Sprechstimme, que son musical. Ses assistants berlinois de la musique et pour sa patience face aux été créé à (en 1937, après la mort du Schoenberg a été le premier à employer dans évoqueront souvent le soin et la patience difficultés de tous ordres entourant les compositeur) et non en Allemagne, et que son Pierrot lunaire. La Sprechstimme peut être infinis dont le chef d’orchestre fait preuve préparatifs. Sur le coup, comme par la suite, Hindemith lui-même était totalement en décrite comme une “parole musicalement pendant les répétitions – nombreuses au point l’opéra divise l’opinion, mais son succès dans disgrâce à l’époque nazie, Berg et lui étant tous définie”. Rythme et intonation sont imposés de battre pratiquement tous les records –, certains milieux suffit, selon le critique et deux victimes de l’étiquette “culture de manière précise, mais demandant au pianiste de bien respecter tel philosophe Theodor Wiesengrund Adorno, à bolchevique” ou “art dégénéré” accolée à leurs dans l’exécution, chaque note n’est définie qu’au rythme ou d’accentuer telle note d’un accord faire naître chez le compositeur le besoin d’être œuvres par les autorités. moment où elle est émise, la voix descendant ou pour aider le chanteur. Lorsque Kleiber se rend consolé: montant ensuite aussitôt, comme lorsque l’on à Londres en 1952 pour diriger la première Pour que l’opéra plaise tant aux gens, il faut qu’il Organisation musicale parle naturellement. production britannique, il évoque avec y ait quelque chose qui n’aille pas! Berg était l’élève de Schoenberg et son style Wozzeck est en trois actes, subdivisés chacun affection ses collaborateurs berlinois, comme L’œuvre est donnée dix fois à Berlin et musical est influencé par nombre des idées en cinq scènes. La musique est continue et s’il s’agissait d’une famille d’un passé lointain, continue à faire son chemin, lentement et théoriques et pratiques de son professeur. Berg ne laisse souvent que quelques secondes et va jusqu’à inviter la première Marie, le toujours au milieu des controverses; malgré L’opéra n’est pas composé selon la méthode d’interlude musical pour changer le décor soprano danois Sigrid Johanson, à venir à une production à Oldenburg en 1929, puis dite dodécaphonique de Schoenberg, même si entre les scènes. Londres prendre part aux célébrations de la des représentations dans quinze autres villes le thème de la Passacaille, à l’acte I, comporte Le compositeur lui-même a relié la musique création britannique. Il se prend lui-même à allemandes, elle tombe en discrédit avec douze notes. Berg ne met pas d’armure à la au drame de la façon la plus succincte dans le espérer que les représentations londoniennes l’arrivée au pouvoir des nazis. En quelques , sauf dans l’interlude séparant les scènes 4 tableau suivant: parviendront à débarrasser Wozzeck des années, Berg touche suffisamment de droits euphémismes substitués ici et là par Berg au d’auteur sur Wozzeck pour pouvoir s’offrir – à Scène Musique texte original de Büchner – le compositeur a quarante-cinq ans! – sa première voiture. par exemple remplacé le “gepißt” (“pissé”) du C’est un curieux commentaire à la fois sur Acte I Docteur par un inoffensif, mais, dans le Wozzeck, désormais reconnu comme l’un des Wozzeck et son entourage Cinq pièces de caractère contexte, incompréhensible “gehustet” chefs-d’œuvre – peut-être même le chef- Wozzeck et le Capitaine Scène 1 Suite (“toussé”), mais ses espoirs seront vains. d’œuvre – parmi les opéras du vingtième Wozzeck et Andres Scène 2 Rhapsodie L’excitation de Berg pendant les répétitions siècle, et sur les conceptions politico- Marie et Wozzeck Scène 3 Marche militaire et Berceuse de l’opéra à Berlin confine à l’euphorie, de esthétiques de l’Allemagne nazie que l’opéra de Wozzeck et le Docteur Scène 4 Passacaille même que son enthousiasme pour les décors, Berg ait été effectivement banni de ce pays dès Marie et le Tambour-Major Scène 5 Andante affettuoso (quasi Rondo)

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Acte II combien il avait été ravi de la qualité une des grandes pages musicales du siècle Développement dramatique Symphonie en cinq mouvements “classique” du chant – “cela doit être chanté dernier: tout cela est la substance même non Marie et l’Enfant, puis Wozzeck Scène 1 Mouvement de sonate comme s’il s’agissait du Trovatore!” Il est seulement de la musique du vingtième siècle, Le Capitaine et le Docteur, puis Wozzeck Scène 2 Fantaisie et Fugue parfois difficile de se montrer à la hauteur des mais du drame musical, de l’opéra à son plus Marie et Wozzeck Scène 3 Largo idéaux du compositeur, mais cela vaut haut degré d’expressivité et de force. Le jardin d’une taverne Scène 4 Scherzo indubitablement la peine d’essayer. La chambrée à la caserne Scène 5 Rondo marziale con introduzione Du jour où j’ai entendu cette musique pour la © 2003 The Earl of Harewood première fois (en 1949, en concert, sous la Traduction: Josée Bégaud Acte III direction de Sir Adrian Boult), j’ai été totalement Catastrophe et Épilogue Six Inventions captivé aussi bien par son invention quasi Argument populaire (Andres à l’acte I, scène 2, ou Margret Wozzeck est l’histoire d’un Homme Ordinaire, Marie et l’Enfant Scène 1 Invention sur un thème à l’acte III, scène 3) que par les scènes lyriques dont les tendances névrotiques et les sens non Marie et Wozzeck Scène 2 Invention sur une note associées à Marie (sa Berceuse de l’acte I, scène 3, éduqués sont assaillis par des problèmes qui ne La taverne Scène 3 Invention sur un rythme ou la lecture de la Bible à l’acte III, scène 1); sont pas uniquement de son fait, et par les La mort de Wozzeck Scène 4 Invention sur un hexacorde autant par la satire liée au Docteur et au machinations et les manœuvres de ses Interlude orchestral Invention sur une tonalité Capitaine, et par le caractère pictural des scènes congénères, hommes et femmes. L’action se Enfants en train de jouer Scène 5 Invention sur un rythme de croches d’extérieur (acte I, scène 2; acte II, scène 4), que passe en Allemagne vers 1830. par l’expressivité théâtrale de chacune des scènes Cependant, le compositeur, dans un article différentes fugues et inventions, mouvements de entre Wozzeck et Marie. En fait, je crois que le DISQUE COMPACT UNE publié dans la Neue Musik-Zeitung en 1928 et suite et de sonate, variations et passacailles; troisième acte, du solo de Marie au tout début à reproduit par Willi Reich dans son livre sur chacun ne devrait être absorbé que par l’idée de l’enfant solitaire avec ses “Hop, hop!” à la fin, a Acte I Berg, a mis en garde quiconque serait tenté de l’opéra, une idée qui transcende de loin le destin tout de suite occupé un très haut rang dans ma Scène 1 se livrer à une analyse mentale de Wozzeck individuel de Wozzeck. hiérarchie opératique. La rencontre poignante La chambre du Capitaine pendant l’exécution: Wozzeck n’est certes pas une œuvre facile à entre Marie et Wozzeck, les deux grands Le Capitaine se fait raser par Wozzeck, son Aussi exhaustive que soit sa connaissance des chanter, mais Berg lui-même détestait l’idée crescendos orchestraux sur si bécarre succédant ordonnance, lui faisant la morale pour sa plus formes musicales utilisées dans cet opéra […], que la ligne vocale soit caricaturée comme si au meurtre, les rythmes maniaques de la scène de grande perplexité: si Wozzeck se presse autant, aucun spectateur, entre le moment où le rideau notes et style étaient l’un et l’autre quasiment la taverne, les gammes chromatiques montantes que fera le Capitaine des dix minutes qu’il se lève et celui où il tombe pour la dernière fois, inabordables. À l’issue de chaque création de de l’orchestre commentant la noyade de aura devant lui? Wozzeck est un bon garçon, ne devrait prêter la moindre attention aux l’opéra ou presque, le compositeur a écrit Wozzeck, puis le grand thrène en ré mineur – continue-t-il, mais le fait qu’il ait un enfant

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sans être marié montre qu’il n’a pas de sens frappe au carreau, mais est trop pressé pour puis essaie d’endormir son enfant. Wozzeck est Scène 3 moral. Wozzeck répond que Dieu ne rejettera seulement regarder son fils. suspicieux lorsqu’elle prétend avoir trouvé les La rue devant chez Marie sûrement pas un enfant juste parce que l’union bijoux: lui n’a jamais eu la chance de trouver Le mouvement lent de la Symphonie (Largo), de ses parents n’a pas été bénie par l’Église, et Scène 4 de tels objets par paire. Après avoir donné à qui se déroule devant la maison de Marie, est cite les paroles du Christ. Le Capitaine est Le lendemain, dans le cabinet du Docteur Marie l’argent gagné auprès du Capitaine et écrit pour un orchestre de chambre de quinze exaspéré et sa voix monte jusqu’au contre-ut. Wozzeck est payé par le Docteur pour servir du Docteur, il part. Marie songe tristement à instruments, comme la Kammersymphonie “Nous, pauvres gens!”, poursuit Wozzeck, de cobaye à ses expérimentations diététiques, son infidélité. no 1, op. 9, de Schoenberg. Wozzeck expliquant que la moralité conventionnelle est mais réagit vigoureusement lorsqu’il s’entend confronte Marie: elle est belle comme le péché, un luxe réservé aux riches, mais le Capitaine reprocher de ne pas suivre les instructions. Le Scène 2 mais comment le péché peut-il être beau? Le en conclut qu’il pense trop. Docteur conclut de cette explosion que La rue Tambour-Major ne se tenait-il pas là? Lorsque Wozzeck pourrait bien finir dans un asile de Le Docteur, qui passait, très pressé, est accosté Marie lui rétorque qu’elle n’est pas responsable Scène 2 fous. En fin de compte, le Docteur est plus par le Capitaine et lui impose le récit de cas de qui marche dans la rue, Wozzeck semble Une lande intéressé par la célébrité qui sera la sienne mortels récents. La figure rougeaude du sur le point de la frapper. “Plutôt un couteau Wozzeck et son ami Andres coupent des lorsqu’il aura fait connaître ses nouvelles Capitaine pourrait bien augurer d’une attaque dans le corps que de laisser lever la main sur rameaux au coucher du soleil, mais Wozzeck théories, que par son patient. d’apoplexie, annonce le Docteur, plongeant moi. Mon père n’a plus osé, passés mes dix laisse son imagination s’emballer, percevant un son interlocuteur dans une rêverie lyrique au ans.” complot des francs-maçons, et se Scène 5 sujet de sa future notice nécrologique. convainquant, sans que l’on sache pourquoi, Devant chez Marie Apparaît Wozzeck, qui coupe à travers le Scène 4 que le monde est en feu lorsque le soleil Le Tambour-Major prend la pose devant monde comme une de ses propres lames de Le jardin d’une taverne. Des couples dansent sur couchant embrase l’horizon. Marie, qui le repousse lorsqu’il essaie de rasoir, prétend le Capitaine. Par association un ländler lent l’enlacer, mais finit par céder: “Pourquoi pas? d’idées, celui-ci repense au scandale entre Deux Apprentis, ivres, chantent d’un ton Scène 3 Pour ce que ça change!” Marie et le Tambour-Major à la forte barbe, et larmoyant les effets de l’eau-de-vie, et Wozzeck La chambre de Marie, compagne de Wozzeck se ligue avec le Docteur pour tourmenter est envahi par la jalousie en voyant Marie Marie regarde défiler une fanfare militaire. Le DISQUE COMPACT DEUX Wozzeck: n’aurait-il pas trouvé un poil de danser avec le Tambour-Major. Il est sur le Tambour-Major lui adresse un salut, et barbe dans sa soupe? Wozzeck réagit avec point de se précipiter sur la piste de danse Margret, une voisine, remarque fielleusement Acte II véhémence: comment peut-on être satisfait de lorsque la musique s’arrête, et les soldats, avec que Marie montre beaucoup d’intérêt pour les Scène 1 la vie? Le Docteur lui tâte le pouls et, lorsque Andres au premier rang, entonnent une soldats, mais Marie claque la fenêtre et chante La chambre de Marie Wozzeck s’éloigne précipitamment, le chanson de chasse gaillarde. En Sprechstimme, une berceuse lyrique à son enfant. Wozzeck Marie admire ses nouvelles boucles d’oreille, Capitaine et lui expriment leur surprise. le Premier Apprenti entame un sermon sans

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queue ni tête, puis un Fou errant dans la Sprechstimme pour la lecture de la Bible, mais l’étang. Désespéré, il pénètre dans l’eau pour Opera de Covent Garden, Opera North, le salle – rôle extraordinairement important passe au chant pour son commentaire, d’une laver le sang de ses mains et disparaît aux Glyndebourne Festival Opera, Scottish Opera limité à seulement treize notes – s’approche du beauté envoûtante. regards alors que le Docteur et le Capitaine et le Welsh National Opera. Sur la scène banc où Wozzeck est assis et lui dit: “Joyeux, font leur entrée. Ils entendent un bruit internationale, il a chanté avec le San Diego joyeux… mais ça sent… je sens une odeur de Scène 2 étrange: on dirait un homme qui se noie, Opera, le New Israeli Opera, l’Opéra national sang!” Alors que la danse reprend, Un étang dans la forêt, plus tard la même nuit commente le Docteur. de Paris-Bastille, l’Opéra Comique et le Gran l’imagination de Wozzeck est obsédée par Wozzeck arrête Marie alors qu’ils rentrent chez Le grand interlude en ré mineur constitue le Teatre del Liceu à Barcelone, ainsi qu’à Lyon, l’idée de sang. eux et songe au temps depuis lequel ils se point culminant de l’opéra, et une lamentation Nantes, Montpellier, Copenhague, connaissent. Tirant un couteau, il la frappe à la sur le destin de Wozzeck. Amsterdam, Santa Fe, Vancouver et Ottawa. Scène 5 gorge. L’interlude consiste en deux longs Il a tenu entre autres le rôle-titre de Don La chambrée de Wozzeck, la nuit crescendos sur la note si naturel, commençant Scène 5 Pasquale, Falstaff, Gianni Schicchi, Wozzeck et Les occupants ronflent tandis que Wozzeck se très doucement au cor solo et gagnant ensuite La rue devant chez Marie King Priam; il a également été Figaro (Le nozze plaint auprès d’Andres de ne pouvoir dormir tout l’orchestre. Des enfants sont en train de jouer, mais le fils di Figaro), Don Alfonso (Così fan tutte), tellement il pense au bal. Le Tambour-Major de Marie reste dans son coin, jouant au cheval Papageno (Die Zauberflöte), Dulcamara (L’elisir entre en titubant, se vantant haut et fort de sa Scène 3 sur un bâton. D’autres enfants arrivent en d’amore), Dr Bartolo (Il barbiere di Siviglia), conquête et exigeant de Wozzeck qu’il boive Une taverne courant et annoncent que l’on a retrouvé le baron Trombonok (Il viaggio a Reims), avec lui. Wozzeck se détourne, mais le Le rideau se lève directement sur la scène 3, et Marie morte, avant de repartir en courant. Vaarlam (Boris Godounov), le roi Dodon Tambour-Major le met debout de force et ils sur une polka rapide grinçant sur un piano Mais le petit garçon ne comprend pas; il (Le Coq d’or), le baron (La Vie parisienne), se battent. Andres s’exclame: “Il saigne”, et la désaccordé. Wozzeck est parmi les danseurs et continue à jouer, puis part au galop derrière les Frank (Die Fledermaus), Faninal (Der seule mention du sang fait à Wozzeck l’effet flirte avec Margret, qui s’aperçoit qu’il a du autres. Le rideau tombe. Rosenkavalier), Dikoy (Kátya Kabanová), d’une injonction du destin: “L’un après sang sur la main. Il essaie d’abord d’inventer Dr Kolenat´y (L’Affaire Makropoulos), Sˇisˇkov l’autre!” une explication, puis quitte précipitamment la © 2003 The Earl of Harewood (De la maison des morts), Léandro (L’Amour des pièce. Traduction: Josée Bégaud trois oranges), Mr Flint (Billy Budd ), Acte III Mr Gedge (Albert Herring) et George Wilson Scène 1 Scène 4 Andrew Shore (Wozzeck), qui excelle autant (The Great Gatsby) ainsi qu’Alberich dans une La chambre de Marie, la nuit L’étang comme chanteur que comme acteur, est version de concert de Das Rheingold. Il a Un solo joue le Thème tandis que Marie Cherchant le couteau avec lequel il l’a tuée, aujourd’hui le principal baryton bouffe de enregistré entre autres Leporello (Don lit l’histoire de Marie-Madeleine et compare ce Wozzeck trébuche sur le corps de Marie. Grande-Bretagne; il a travaillé dans son pays Giovanni), Dulcamara (L’elisir d’amore), le récit à sa propre existence. Berg a recours à la L’ayant retrouvé, il jette le couteau dans natal avec l’English National Opera, le Royal rôle-titre de Don Pasquale, Dr Bartolo

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(Il barbiere di Siviglia), le rôle-titre de Falstaff, chanter Tosca et Un ballo in maschera. En Opera, du Tambour-Major (Wozzeck) pour Invitée régulièrement au Festival lyrique de Benoît (La bohème), le Sacristain (Tosca) et Grande-Bretagne elle a chanté avec le Royal Opera North et de Hérode pour Scottish Glynbebourne où elle a chanté Emilia (Otello) Faninal (les grands airs de Der Rosenkavalier), Opera de Covent Garden, l’English National Opera. Il a été Sergueï (Lady Macbeth de et Geneviève (Pelléas et Mélisande), elle a été tous ces enregistrements étant réalisés pour Opera, Opera North et le Welsh National Mzensk) à l’Opéra national de Paris-Bastille, à Nicklausse (Les Contes d’Hoffmann) pour le Chandos dans la série Opera in English Opera; en Europe elle s’est produite à l’Opéra l’Opéra de Francfort et à de Milan; Royal Opera de Covent Garden, Isabella financée par la Peter Moores Foundation. de Paris, l’Opéra d’État de Bavière de Munich, Florestan (Fidelio) à l’Opéra de Berne; Égiste (L’italiana in Algeri) pour le Festival de Buxton l’Opéra des Pays-Bas, à l’Opéra des Flandres (Elektra) et l’Empereur (Die Frau ohne ainsi qu’Angelina (La Cenerentola) et Idamante Au fil de sa carrière, Dame Josephine Barstow ainsi qu’à Lisbonne, Barcelone et Palerme; en Schatten) au Théâtre de Bâle et à l’Opéra (Idomeneo) pour Garsington Opera. En dehors (Marie) a fait l’unanimité avec ses Amérique, elle a chanté avec le Metropolitan d’État de Bavière de Munich; l’Empereur au de son pays, elle s’est produite avec l’Opéra des interprétations de Salomé, Tosca, de la Lady Opera de New York, le San Francisco Opera, le Deutsche Oper à Berlin; Rienzi et Siegfried au Pays-Bas, l’Opéra des Flandres, le Seattle Macbeth de Verdi et celle de Chostakovitch et et le Houston Grand Gran Teatre del Liceu à Barcelone, Tannhäuser Opera et le San Diego Opera; elle a de tout un éventail de rôles lyriques créés par Opera. Actrice et chanteuse de tout premier au Teatro Massimo à Palerme; Tannhäuser et dernièrement été Eduige (Rodelinda) au des compositeurs aussi divers que Mozart, ordre, elle reçut en 1985 le titre de CBE et Bacchus au Teatro San Carlo à Naples; et Châtelet Théâtre Musical sous la direction de Beethoven, Verdi, Puccini, Janácˇek et Richard cette année-là se vit décerner la medaille Fidelio Siegfried au Tiroler Festspiele et au Théâtre du William Christie. Pour Chandos, elle a Strauss. Ces dernières saisons, elle a chanté le par l’International Opera Directors Capitole à Toulouse. Il s’est également produit enregistré entre autres Paulus de Mendelssohn, rôle-titre de Medea et d’Aïda, la comtesse Association – seuls cinq artistes avant elle dans des contrées plus lointaines, avec Seattle A Mass of Life de Delius, The Rape of Lucretia (La Dame de pique), Mrs Alice Ford (Falstaff ), avaient reçu cet honneur; en 1995 elle fut Opera, Opera Omaha, San Diego Opera, la de Britten et, dans la série Opera in English Kostelnicˇka ( Jenu˚fa), Kabanicha (Kátya décorée de Dame Commander of the Order of Canadian Opera Company et le New Israeli financée par la Peter Moores Foundation, le Kabanová), Emilia Marty (L’Affaire the British Empire. Opera à Tel Aviv. rôle de Maddalena et celui de Suzuki Makropoulos), Marie (Wozzeck), Mère Marie (Madama Butterfly). (Dialogues des Carmélites), Ellen Orford (Peter Le ténor Alan Woodrow (Tambour-Major) fit La mezzo-soprano Jean Rigby (Margret) fit ses Grimes), Lady Billows (Albert Herring) et la ses études au Royal Conservatory of Music de études à la Birmingham School of Music, puis Acteur et chanteur de renom international, reine Elizabeth I (Gloriana). Elle chanta Miss Toronto et au London Opera Centre. Parmi à la Royal Academy of Music avec Patricia Stuart Kale (Capitaine) reçut sa formation au Wingrave dans un film télévisé d’Owen les nombreux rôles qu’il a tenus, notons ceux Clarke dont elle est encore l’élève. Durant une London Opera Centre grâce à une bourse de Wingrave sous la direction de Kent Nagano et de Canio (Pagliacci), Hermann (La Dame de longue association avec l’English National la Peter Moores Foundation. Il commença sa créa le rôle de la protagoniste dans la première pique), Don José (Carmen), Hérode (Salome), Opera, elle a été Amastre (Serse), Rosina carrière avec le Welsh National Opera avant de mondiale de Die schwarze Maske de Penderecki Bacchus (Ariadne auf Naxos), du prince André (Il barbiere di Siviglia), Maddalena (Rigoletto), rejoindre les rangs de l’English National Opera dans le cadre du Festival estival de Salzbourg, (La Khovanchtchina) et d’Edmund (Lear Carmen, Octavian (Der Rosenkavalier), Jocaste où il resta huit ans, chantant entre autres Don un festival auquel Karajan l’invita par la suite à d’Aribert Reimann) pour l’English National (Oedipus Rex) et Hélène de Troie (King Priam). Ottavio (Don Giovanni), Alfred (Die

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Fledermaus), Michel (Julietta de Martinu˚) et Depuis ses études au Royal Northern College mené a l’Opéra des Pays-Bas, au Seattle Opera, un Paysan miteux (Lady Macbeth de Mzensk), Nanki-Poo (The Mikado); il a depuis retrouvé of Music durant lesquelles il bénéficia d’une à l’Opéra d’État de Bavière de Munich ainsi Alwa (Lulu) et Lysander (A Midsummer Night’s cette scène en invité pour interpréter Dr Caïus bourse de la Peter Moores Foundation et qu’à Lisbonne, Lausanne et Toulouse. Pour Dream). En dehors de Grande-Bretagne, il s’est (Falstaff ), Hérode (Salome) et Truffaldino chanta Claggart dans une mise en scène de Chandos, il a enregistré entre autres Troilus produit entre autres au Théâtre royal de la (L’Amour des trois oranges). Pour le Royal Billy Budd, la basse Clive Bayley (Docteur) se and Cressida et Billy Budd et, dans le cadre de Monnaie à Bruxelles, al’Opéra des Pays-Bas, à Opera de Covent Garden, il a été le Grand produit régulièrement avec les plus grandes la série Opera in English, financée par la Peter l’Opéra de Nice, aux Festivals de Salzbourg et Prêtre (Idomeneo), Guillot (Manon), compagnies lyriques. Il fit ses débuts avec le Moores Foundation, Don Giovanni, Don Ravenne ainsi qu’à Toronto et Vancouver. Il l’Instituteur et le Moustique (La Petite Renarde Royal Opera de Covent Garden dans la Pasquale, Il trovatore, Falstaff, Madama tient le rôle de Bob Boles dans rusée) ainsi que Bob Boles (Peter Grimes); pour création de Gawain de Sir Harrison Birtwistle, Butterfly, Turandot et les grands airs de Boris l’enregistrement de Peter Grimes qui valut à le Welsh National Opera, Dr Suda (Osud puis fut sur cette même scène Hans Foltz Godounov. Chandos un prix Grammy. [Le Destin] de Janácˇek); au Châtelet Théâtre (Die Meistersinger von Nürnberg), Colline Musical à Paris, Lucano (L’incoronazione di (La bohème) et Castro (La fanciulla del West ). Le ténor John Graham-Hall (Le Fou) fit ses Peter Bronder (Andres) fit ses études à la Poppea), Valzacchi (Der Rosenkavalier) et les Avec Opera North il a chanté Figaro (Le nozze études à King’s College à Cambridge ainsi Royal Academy of Music et au National Opera trois rôles de ténor dans Lulu; pour l’Opéra du di Figaro), Wurm (Luisa Miller), Sparafucile qu’au Royal College of Music. Sur la scène Studio. Après une saison à Glyndebourne, il Rhin à Strasbourg, Chouiski (Boris Godounov), (Rigoletto), Ferrando (Il trovatore), un vieux britannique, il a été entre autres le Maître de devint ténor vedette du Welsh National Opera Alfred, Hérode, Albert Gregor (L’Affaire Moine (Don Carlos), Arkel (Pelléas et ballet (Ariadne auf Naxos) et Albert Herring où il chanta dans Così fan tutte, Die Makropoulos), le Capitaine (Wozzeck) et Bob Mélisande), le Docteur (Wozzeck), Sir Walter pour le Royal Opera de Covent Garden; Vanya Zauberflöte, Il barbiere di Siviglia, I puritani, Boles; et à Drottningholm, le podestat (La Raleigh (Gloriana) et l’Arbitre (Playing Away (Kátya Kabanová) et Bob Boles (Peter Grimes) La traviata, La bohème et Eugène Onéguine. finta giardiniera) et le rôle-titre d’Idomeneo. de Benedict Mason). Parmi ses succès avec pour le Glyndebourne Festival Opera; Cassio Plus récemment, il a retrouvé le Welsh Dans les théâtres lyriques et festivals d’Europe l’English National Opera, notons Cadmus (Otello) et Valzacchi (Der Rosenkavalier) pour National Opera pour chanter Pylade (Iphigénie et d’Amérique du Nord, il a été entre autres (Semele), Ferrando (Il trovatore), Pistol le Welsh National Opera; Ferrando (Così fan en Tauride), Dr Caïus (Falstaff ), Alfred (Die Égiste (Elektra), le Tambour-Major (Wozzeck), (Falstaff ), les quatre scélérats (Les Contes tutte) et Gustav von Aschenbach (Death in Fledermaus) et Bob Boles (Peter Grimes). Il a Zinovi (Lady Macbeth de Mzensk), Captain d’Hoffmann), Arkel, le Docteur (Wozzeck) et Venice) pour le Glyndebourne Touring Opera; été Pedrillo (Die Entführung aus dem Serail ), Vere (Billy Budd ) et le Lépreux (Saint François Collatin (The Rape of Lucretia). Il a chanté et Eisenstein (Die Fledermaus) et l’Instituteur Lord Arturo Bucklaw (Lucia di Lammermoor) d’Assise). Il a enregistré entre autres Otello, Don Fernando dans une version de concert de (La Petite Renarde rusée) pour Scottish Opera. et Cassio (Otello) pour le Royal Opera de Falstaff, Madama Butterfly, Osud et les grands Fidelio sous la direction de Walter Weller et Il est membre de l’English National Opera Covent Garden; le comte Almaviva (Il barbiere airs de Boris Godounov, tous pour Chandos s’est produit avec le Glyndebourne Festival avec qui il a chanté entre autres Monostatos di Siviglia) et Vanya (Kátya Kabanová) pour dans la série Opera in English financée par la Opera et le Glyndebourne Touring Opera. La (Die Zauberflöte), Mime (Das Rheingold ), l’English National Opera; Prunier (La rondine) Peter Moores Foundation. carrière internationale de Clive Bayley l’a Goro (Madama Butterfly), Hérode (Salome), et le Capitaine (Wozzeck) pour Opera North;

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Leicester (Maria Stuarda), Rodolphe Né dans le Queensland en Australie en 1975, Companion (avec Graham Johnson) et The remarquablement varié, depuis la musique (La bohème) et le Maître de ballet (Ariadne auf le baryton Leslie John Flanagan (Premier Spanish Song Companion – et a collaboré avec ancienne jusqu’à la musique contemporaine, se Naxos) pour Scottish Opera; et Mr Upfold Apprenti) fit ses études au Conservatoire du Alfred Brendel à One Finger Too Many (Ein produisant en Scandinavie, en Allemagne, (Albert Herring) pour le Glyndebourne Festival Queensland. En Australie, il fut entre autres Finger zuviel ). Il a récemment publié dans l’ancienne Tchécoslovaquie, au Canada et Opera. Hors de son pays natal, Peter Bronder Papageno (Die Zauberflöte), Silvano (Un ballo J.S. Bach – The Complete Church and Secular en Australasie. Après avoir fait ses premières a travaillé avec l’Opéra d’État de Bavière de in maschera), Krusˇina (La Fiancée vendue) et Cantatas ainsi qu’une traduction de The Veil of armes de chef d’orchestre avec la BBC, il Munich, l’Opéra de Francfort, l’Opéra des Dancaïre (Carmen). En 1997, une bourse lui Order (Ausgerechnet ich) de Brendel et travaille décida de prendre une part active dans ce Pays-Bas, le Théâtre royal de la Monnaie à permit de se rendre au Royaume-Uni pour à Boulez on Conducting. Ses traductions pour domaine avec ses propres chanteurs et fonda le Bruxelles, le Châtelet Théâtre Musical à Paris poursuivre ses études à l’Alexander Gibson la scène de Wozzeck de Berg pour Opera Geoffrey Mitchell Choir. Par suite de ses et le San Francisco Opera. Pour Chandos, Opera School de la Royal Scottish Academy of North, de Parsifal de Wagner et de Lulu de premiers enregistrements l’ensemble travaille dans la série Opera in English financée par la Music and Drama, où il chanta le rôle-titre de Berg pour l’English National Opera ont été depuis longtemps avec Opera Rara pour qui il Peter Moores Foundation, il a enregistré Don Giovanni; il est aujourd’hui l’élève de saluées unanimement par les critiques. a réalisé plus de trente enregistrements. Ce Pagliacci et Cavalleria rusticana. Janice Chapman. En tant que jeune baryton Chœur ne cesse d’élargir sa réputation, vedette de l’English National Opera depuis Le Susan Singh Choristers est un groupe qui travaillant avec la BBC et plusieurs maisons de Né en 1973 à Glasgow, la basse Iain Paterson 1999, il a été entre autres Masetto (Don permet à de jeunes chanteurs de faire leurs disques internationales. Pour Chandos, le (Deuxième Apprenti) reçut sa formation à la Giovanni), Figaro et Fiorello (Il barbiere di premières armes à l’opéra, en concert ou sur Geoffrey Mitchell Choir a participé à plusieurs Royal Scottish Academy of Music and Drama Siviglia), Marullo (Rigoletto), Donner une scène de théâtre au Royaume-Uni. enregistrements pour Opera in English, une et poursuit aujourd’hui ses études avec Neilson (Das Rheingold ), Schaunard (La bohème de L’entrée se fait par invitation ou par audition série de disques très prisés financée par la Peter Taylor. Il a chanté Figaro (Le nozze di Figaro), Puccini), Colline (La bohème de Leoncavallo), et les jeunes candidats ont déjà fait leurs Moores Foundation. Leporello (Don Giovanni), Fabrizio (La gazza prince Yamadori (Madama Butterfly) et Barney preuves au sein d’institutions telles l’English ladra), le baron Douphol (La traviata), Pistol (The Silver Tassie). National Opera où Susan Singh travaille avec Reconnu comme l’un des plus grands (Falstaff ) et Zaretski (Eugène Onéguine) pour les enfants, le Finchley Children’s Music orchestres du monde, le Philharmonia Opera North; Sparafucile (Rigoletto), le bonze Professeur de langues à Westminster School, Group, où elle dirige deux des chœurs, le New Orchestra a depuis plus de cinq ans le grand (Madama Butterfly) et Timur (Turandot) pour Richard Stokes donne des cours London Children’s Choir, le Jennifer maestro allemand Christoph von Dohnányi le Welsh National Opera; et Elviro (Serse), d’interprétation de Lieder et de fréquentes Lilleystone Singers ainsi que certaines écoles de pour chef principal. Le premier à avoir tenu ce Ferrando (Il trovatore), Fasolt (Das Rheingold ), conférences sur les compositeurs de mélodies. Londres et du Sud de l’Angleterre. poste fut Otto Klemperer et l’Orchestre depuis Colline (La bohème) et le blaireau (La Petite Il est co-auteur de livres sur la mélodie lors a collaboré avec succès avec Lorin Maazel Renarde rusée) pour l’English National allemande, française et espagnole – The Durant sa carrière de chanteur, Geoffrey (au poste de chef principal assistant), Ricardo Opera. Fischer-Dieskau Book of Lieder, A French Song Mitchell aborda un répertoire Muti (chef principal et directeur musical),

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Giuseppe Sinopoli (directeur musical), une plus de mille disques à son actif, parmi lesquels unanimement par les critiques pour ses Der Rosenkavalier, Pelléas et Mélisande, tradition qui se poursuit aujourd’hui avec Kurt plusieurs bandes originales pour le cinéma et la versions neuves et passionnantes de Don De la maison des morts, Dialogues des Sanderling (chef émérite), Vladimir Ashkenazy télévision, le Philharmonia Orchestra est réputé Giovanni, Medea, Tannhäuser, Luisa Miller, Il Carmélites, Lulu, Peter Grimes, Guerre et Paix, (chef lauréat) et Sir Charles Mackerras (chef dans le monde entier. Sa discographie trovatore, Don Carlos, Falstaff, Boris Godounov, Nixon in China, la première mondiale de principal invité). L’ensemble a également été comprend, pour Opera Rara, plusieurs disques Pelléas et Mélisande, Jenu˚fa, Ariane et Barbe- The Silver Tassie par Mark-Anthony Turnage et associé à des personnalités aussi éminentes que de récitals ainsi que onze intégrales d’opéras et, Bleue de Dukas, Der ferne Klang de Schreker, une version de concert de La gioconda de Wilhelm Furtwängler, Richard Strauss, Arturo pour Opera in English chez Chandos, série Wozzeck, Gloriana, King Priam de Tippett et Ponchielli. Toscanini, Guido Cantelli, Herbert von financée par la Peter Moores Foundation, Don les créations mondiales de Baa Baa Black Sheep Il a également dirigé Mitridate, re di Ponto Karajan et Carlo Maria Giulini. L’Orchestre Giovanni, L’elisir d’amore, Lucia di Lammermoor, de Michael Berkeley et Playing Away de au Royal Opera de Covent Garden, Béatrice et continue à collaborer avec des chefs et des Faust, Carmen, Aïda, La bohème, Madama Benedict Mason. En tant que chef principal, il Bénédict ainsi que La Khovanchtchina au solistes de stature mondiale et recrute les jeunes Butterfly, Turandot, une version primée de Tosca dirigea l’English Northern Philharmonia, Théâtre royal de la Monnaie à Bruxelles, instrumentistes les plus talentueux d’Europe. ainsi que plusieurs récitals solistes d’airs lyriques orchestre résident d’Opera North, dans de Erwartung et Le Château de Barbe-Bleue au Orchestre résident au Royal Festival Hall, il avec Bruce Ford, Diana Montague, Dennis nombreux concerts en Grande-Bretagne et Grand théâtre de Genève, King Priam à joue également un rôle central dans la vie O’Neill, Alastair Miles, Yvonne Kenny et John dans le cadre de festivals internationaux. l’Opéra de Nancy ainsi que Le nozze di Figaro, musicale britannique en choisissant des Tomlinson. Le Philharmonia Orchestra Au début de sa collaboration avec l’English Kátya Kabanová et la première mondiale de résidences régionales qui sont l’occasion idéale consolide constamment sa réputation National Opera, il dirigea la création mondiale Schlachthof V de Hans-Jürgen von Bose à de développer un programme éducatif internationale grâce à des tournées régulières et de The Mask of Orpheus de Sir Harrison l’Opéra d’État de Bavière de Munich. dynamique centré sur la communauté. Lauréat récemment de prestigieuses résidences au Birtwistle ainsi que des mises en scène de Pour Chandos, Paul Daniel a enregistré un de nombreux prix, l’ensemble a été salué Châtelet Théâtre Musical à Paris, au Megaron à Le nozze di Figaro, Rigoletto, Carmen, Tosca, disque d’œuvres orchestrales et vocales de unanimement par les critiques pour ses Athènes et au Lincoln Center for the Performing Akhnaten de , sans oublier King Thomas Armstrong et, dans la série Opera in programmes innovateurs dont l’un des Arts à New York. Priam dans le cadre des festivités marquant le English financée par la Peter Moores objectifs principaux est l’interprétation et la quatre-vingt-dixième anniversaire de Tippett. Foundation, Falstaff et un disque des grands commande d’œuvres nouvelles des plus grands Très demandé dans le monde entier, sur la Depuis sa nomination au poste de directeur airs de Boris Godounov. En février 1998, Paul compositeurs d’aujourd’hui. scène lyrique comme en concert, Paul Daniel musical de la compagnie en 1997, il a dirigé Daniel remporta un prix Olivier en Un nombre croissant de concerts de a été invité à diriger des orchestres à travers Der fliegende Holländer, La traviata, reconnaissance de son excellente contribution l’Orchestre sont retransmis par BBC Radio 3, toute l’Europe et l’Amérique du Nord. Il trovatore, Otello, Falstaff, Manon, au monde lyrique et il s’est vu conférer le titre entre autres sa participation annuelle aux Directeur musical d’Opera Factory de 1987 Les Contes d’Hoffmann, Boris Godounov, de CBE au début de l’année 2000. Promenade Concerts de la BBC. L’orchestre à 1990, il tint un poste similaire à Opera symphonique le plus enregistré au monde, avec North de 1990 à 1997 et fut salué

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importante solo da pochi amici e sostenitori Persino la lettera di congratulazioni di Berg: Wozzeck appartenenti alla cerchia del suo insegnante, Schoenberg dopo aver assistito per la prima volta Arnold Schoenberg. L’opera richiamò un seguito all’allestimento di Berlino è piena di lagnanze Georg Büchner (1813–1837), scrittore partitura vocale stampata (finanziata dalla limitato, ma entusiastico, anche dopo il 1933, sull’esecuzione e di accenni a consigliabili rivoluzionario per natura, portò a termine solo vedova di Mahler, Alma, ma pubblicata a spese quando fu completamente accantonata in revisioni della partitura. Molto dopo la cinque opere prima della sua morte, che lo di Berg nel 1922) fu inviata a diversi direttori Germania durante l’era nazista. Dopo il 1945 morte di Berg, prima di concedere un elogio, colse appena ventitreenne. Il manoscritto del musicali che la rifiutarono uno dopo l’altro, rimanevano ancora paesi da “convertire” alla Schoenberg non resisteva ancora ad esprimere Wozzeck, ritrovato solo nel 1875, era talmente finché Berg non riuscì a interessare Erich causa del Wozzeck. L’opera lottava ancora per una riserva. Era rimasto molto sorpreso, scrisse confuso e illeggibile che si scoprì che il titolo Kleiber, direttore musicale dell’Opera di Stato essere accettata a quasi settant’anni dalla prima (in inglese), quando questo era in realtà Woyzeck solo dopo la di Berlino, fresco di nomina. Kleiber sarebbe rappresentazione quando, negli anni Novanta, giovane timido dal cuore tenero aveva avuto il pubblicazione dell’opera di Alban Berg. Lo rimasto talmente colpito da annunciare già Paul Daniel l’aggiunse al proprio manifesto coraggio di cimentarsi in un’avventura che sfruttamento dei poveri e la sofferenza dopo la seconda scena dell’Atto I che avrebbe prima di iniziare a lavorare per Opera North. sembrava andare in cerca di guai; comporre il esistenziale sono fili conduttori che diretto l’opera a Berlino, “dovesse costarmi il Schoenberg, nei confronti del quale Berg Wozzeck, un dramma pieno di tale straordinaria conferiscono agli scritti di Büchner una natura posto”. Nel frattempo, Hermann Scherchen nutriva grandissima reverenza, manifestò tragedia da apparire ostile alla musica… Ci riuscì. profetica, con posizioni che precedono di chiedeva a Berg di preparare una suite, i inizialmente un atteggiamento alquanto Wozzeck fu uno dei più grandi successi dell’opera. decenni quelle di scrittori come Émile Zola. cosiddetti “Tre frammenti del Wozzeck”, che ambiguo nei confronti del Wozzeck. Berg Ma il periodo di incertezza tra il La composizione del Wozzeck, opera che Berg diresse in concerto nel 1924. Ma il rifiuto temeva molto le possibili interferenze del suo completamento della partitura e il primo concepì nel 1914, dopo aver assistito a una regolare da parte degli Intendenti e dei Direttori maestro durante il periodo in cui lavorava allestimento dell’opera fu l’unica occasione in rappresentazione del dramma di Büchner, fu musicali rimase un chiodo fisso nella mente dei all’opera e addirittura sembra che paventasse cui i rapporti tra Berg e il suo riverito interrotta dalla prima Guerra mondiale, a cui il sostenitori dell’opera. l’arrivo di Schoenberg a Vienna perché avrebbe Schoenberg furono men che cordiali. compositore partecipò. La musica fu redatta in Wozzeck è da sempre un’opera in cui credere e potuto insistere per vedere la partitura. Nel All’epoca della prima di Wozzeck a Berlino, partitura abbreviata nel 1921 e la partitura per cui lottare, per vederla rappresentata oppure 1923, mentre continuava ad aggiungere nel dicembre 1925, Kleiber non aveva più di completa vide la luce nell’aprile 1922. Nel 1923 per convincere anche altri a credere in essa: una modifiche, il compositore scrisse alla moglie: trentacinque anni e quindi era più incline ad la Universal Edition si impegnò a pubblicare il vera e propria “causa”. I suoi sostenitori l’hanno Schoenberg è stato intollerabile anche questa essere suscettibile alla nuova musica, e infatti lavoro. Più tardi durante lo stesso anno Eduard difesa sempre con passione, e questo è stato volta. Non ha fatto che criticarmi perché sto Wozzeck divenne un’opera centrale nel suo Steuermann, amico di Berg e ottimo pianista, decisamente il caso negli anni dopo il suo ancora lavorando al Wozzeck (“fa molto Karl credo musicale di direttore d’orchestra. I suoi eseguì l’opera davanti agli Intendenti di completamento nel 1921 e prima che Krausisch, quest’eterno correggere!”), perché collaboratori di scena di Berlino parlarono Francoforte e Darmstadt, ma non ottenne raggiungesse il teatro nel 1925. In quegli anni, va fumo, perché non credo che Wozzeck avrà alcun della sua infinita cura e attenzione durante le alcuna promessa di una rappresentazione. La ricordato, Berg era considerato un compositore successo, è troppo difficile. moltissime prove – e ne svolse un numero

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quasi senza precedenti – insistendo che il Se un’opera piace tanto, dev’esserci qualcosa che composta secondo il metodo dodecafonico di immediatamente dopo la voce scende o sale pianista osservasse un ritmo particolare o non va! Schoenberg, sebbene il tema della Passacaglia come nel normale parlato. sottolineasse una nota particolare di un Ci furono dieci rappresentazioni a Berlino e il nell’Atto I abbia dodici note. Berg non usa le Wozzeck è diviso in tre atti, ciascuno di accordo per aiutare il cantante. Quando progresso dell’opera fu lento e sempre chiavi, tranne che nell’interludio tra le Scene 4 e cinque scene. La musica è continua e Berg Kleiber fu a Londra nel 1952 per dirigere la circondato da controversie, anche se dopo 5 dell’Atto III, ma fa uso notevole e sottile dello spesso non fornisce altro che pochi secondi di prima rappresentazione britannica, parlò con l’allestimento di Oldenburg nel 1929 fu Sprechstimme, nato con Schoenberg che l’utilizzò interludio musicale durante il quale devono affetto dei collaboratori di Berlino, come se seguita in altre quindici città tedesche prima di nel Pierrot Lunaire. Sprechstimme si potrebbe avvenire i cambiamenti discena. fossero parenti di tempi lontani; addirittura essere da parte con l’avvento del definire “canto parlato”. Ritmo e intonazione Lo stesso compositore ha stabilito una arrivò a invitare la Marie originale, il soprano nazismo. Dopo pochi anni Berg aveva ricevuto sono esattamente prescritti, ma relazione estremamente succinta tra la musica danese Sigrid Johanson, a Londra perché sufficienti compensi per i diritti d’autore del nell’esecuzione ciascuna nota è definita solo nel e il dramma come si vede nella seguente partecipasse ai festeggiamenti della prima. Si Wozzeck da potersi permettere – a momento in cui viene articolata; tabella: chiese se le rappresentazioni di Londra quarantacinque anni! – la prima automobile. potessero annullare alcune modifiche È interessante che il Wozzeck, oggi accettato Scena Musica eufemistiche del testo originale di Büchner da come uno dei capolavori – forse il capolavoro – Atto I parte di Berg – per esempio, Berg aveva dell’opera del ventesimo secolo, venisse Wozzeck e il rapporto con il suo ambiente Cinque impressioni modificato il “gepißt” (pisciato) del Dottore effettivamente messo al bando nella Germania nell’innocuo ma insignificante “gehustet” nazista già nel 1933. Oggi si tende a Wozzeck e il Capitano Scena 1 Suite (tossito) nel contesto. Ma se lo chiese invano. dimenticare che la prima di Lulu, seconda Wozzeck e Andres Scena 2 Rapsodia L’eccitazione di Berg durante le prove opera di Berg, si svolse a Zurigo (nel 1937, Marie e Wozzeck Scena 3 Marcia militare e Ninna-nanna dell’opera a Berlino raggiunse l’euforia, come il dopo la morte del compositore) e non in Wozzeck e il Dottore Scena 4 Passacaglia suo entusiasmo per le scene, la produzione, il Germania, e che persino Hindemith fu Marie e il Tamburmaggiore Scena 5 Andante affettuoso (quasi Rondò) cast e, soprattutto, per la comprensione di completamente disprezzato ai tempi del Kleiber della musica e la sua pazienza davanti a nazismo, accusato, come Berg, di “bolscevismo Atto II qualunque difficoltà relativa alla preparazione. culturale” e della creazione di “arte degenerata”. Peripezia in cinque movimenti Alla fine, come in seguito, l’opera ebbe reazioni Marie e il bambino, poi Wozzeck Scena 1 Movimento di sonata contrastanti, ma il successo in alcuni quartieri Organizzazione musicale Capitano e Dottore, poi Wozzeck Scena 2 Fantasia e fuga fu sufficiente perché il compositore sentisse il Berg fu allievo di Schoenberg e il suo stile Marie e Wozzeck Scena 3 Largo bisogno di consolazione, a sentire il critico e musicale è influenzato da numerose idee pratiche Giardino dell’osteria Scena 4 Scherzo filosofo Theodor Wiesengrund Adorno: e teoretiche del suo maestro. L’opera non viene Il dormitorio nella caserma Scena 5 Rondò marziale con introduzione

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Atto III Capitano e dalla qualità pittorica delle scene vicenda è ambientata in Germania intorno al Catastrofe ed epilogo Sei invenzioni all’aperto (Atto I, Scena 2; Atto II, Scena 4), 1830. Marie e il bambino Scena 1 Invenzione sopra un tema quanto dal dramma espressivo in ogni Marie e Wozzeck Scena 2 Invenzione sopra una nota incontro tra Wozzeck e Marie. Anzi, credo che COMPACT DISC UNO Taverna Scena 3 Invenzione sopra un ritmo il terzo atto, dall’assolo iniziale di Marie alla Morte di Wozzeck Scena 4 Invenzione sopra un accordo di sei conclusione, con il bambino solitario e il suo Atto I note “Hopp, hopp!”, si sia classificato Scena 1 Interludio orchestrale Invenzione sopra una tonalità immediatamente in cima alla mia gerarchia La stanza del Capitano Bambini che giocano Scena 5 Invenzione sopra un movimento operistica. Il toccante incontro tra Marie e Il soldato Wozzeck, al servizio di un Capitano, regolare di croma Wozzeck, i due grandi crescendo dell’orchestra gli sta radendo la barba. Il Capitano lo in si naturale che seguono l’assassinio, i ritmi rimprovera: va troppo di fretta e lui non saprà In un articolo pubblicato dalla Neue Musik- note e lo stile fossero inavvicinabili. Quasi ossessionanti della scena della taverna, le scale come impiegare i dieci minuti risparmiati. Il Zeitung nel 1928 e ristampato nel libro di dopo ogni nuova prima dell’opera, il cromatiche ascendenti dell’orchestra a soldato è un brav’uomo, continua il superiore, Willi Reich su Berg, il compositore però compositore scrisse di essere felice della qualità commento della morte di Wozzeck e infine la ma ha un figlio senza essere sposato e questo ammonisce chiunque sia tentato di eseguire “classica” dell’esecuzione – “dev’essere grande trenodia in re minore – una vetta della dimostra che è privo di senso morale. Wozzeck un’analisi mentale del Wozzeck durante la interpretata come se fosse il Trovatore!” composizione musicale del secolo scorso: sono gli risponde che Dio non respinge un bambino rappresentazione: Talvolta non è facile dimostrarsi all’altezza tutte caratteristiche non solo della musica del solo perché l’unione dei suoi genitori non ha Tuttavia attraverso la conoscenza personale delle degli ideali del compositore, ma vale ventesimo secolo, ma del dramma musicale ricevuto la benedizione della chiesa e cita le forme musicali che si ritrovano nell’opera… dal decisamente la pena di tentare. più espressivo e potente. parole di Gesù Cristo. Il Capitano è esasperato momento in cui si alza il sipario a quando cala Dalla prima volta in cui ho ascoltato la e la sua voce sale fino a un do alto. “Noi per l’ultima volta, il pubblico non dovrebbe musica (nel 1949, in concerto con la direzione © 2003 The Earl of Harewood povera gente!”, continua Wozzeck, ma il affatto notare le varie Fughe e Invenzioni, di Sir Adrian Boult) sono rimasto totalmente Traduzione: Emanuela Guastella Capitano conclude che pensa troppo. movimenti di Suite e Sonata, Variazioni e conquistato tanto dall’invenzione popolaresca Passacaglie. Tutti dovrebbero essere solo immersi (Andres nell’Atto I, Scena 2 o Margret Trama Scena 2 nell’idea dell’opera, un’idea che trascende di gran nell’Atto III, Scena 3) quanto dalle scene Wozzeck è la storia di un uomo normale, Un campo aperto lunga il destino individuale di Wozzeck. liriche legate al personaggio di Marie (la ignorante, afflitto da problemi non Wozzeck e il suo amico Andres raccolgono Wozzeck naturalmente non è facile da ninna-nanna nell’Atto I, Scena 3 o la lettura interamente creati da lui e dalle macchinazioni legna al tramonto, ma Wozzeck lascia libera la cantare, ma lo stesso Berg odiava l’idea che il della Bibbia nell’Atto III, Scena 1); tanto dalla e dalle manovre del suo prossimo, che lo sua fantasia, immaginando intrighi dei canto fosse oggetto di caricature, come se le satira che contraddistingue il Dottore e il spingono alla nevrosi e alla disperazione. La massoni e si convince quasi che il mondo

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venga incendiato dal sole che colora di rosso COMPACT DISC DUE Wozzeck reagisce con veemenza: come si fa a soldati, capeggiati da Andres, intonano un l’orizzonte prima di scomparire. trovare soddisfazione nella vita? Il Dottore gli energico canto di caccia. In canto parlato il Atto II tasta il polso, ma Wozzeck corre via tra la Primo Apprendista inizia un sermone Scena 3 Scena 1 sorpresa di entrambi. completamente sconclusionato, dopo di che un La stanza di Marie, la donna di Wozzeck La camera di Marie Pazzo si avvicina alla panca su cui siede Wozzeck Marie segue il di una militare. Marie ammira i suoi nuovi orecchini, poi cerca Scena 3 e osserva, “Bello, bello… ma puzza… sento Il Tamburmaggiore la saluta con la mano e la di fare addormentare il bambino. Wozzeck le Una strada davanti alla porta di Marie odore di sangue!”, un ruolo di straordinario vicina Margret fa un’osservazione maliziosa sul chiede come li ha avuti e si insospettisce quando Il movimento lento della Sinfonia (Largo) significato limitato ad appena tredici note. suo interesse per i soldati, ma Marie le chiude lei gli risponde che li ha trovati; non è facile viene eseguito davanti alla casa di Marie e Berg Riprende la danza e l’immaginazione di la finestra in faccia e canta una ninna-nanna trovare le cose a due a due. Consegna a Marie la lo compone per l’orchestra da camera di Wozzeck è ossessionata dall’idea del sangue. lirica al suo bambino. Wozzeck bussa alla paga del Capitano e del Dottore, poi esce. La quindici elementi utilizzata da Schoenberg finestra, ma va troppo di fretta persino per donna riflette con tristezza sulla propria infedeltà. nella sua Kammersymphonie N. 1, Op. 9. Scena 5 guardare il figlio. Wozzeck affronta Marie: è bella come il Il dormitorio della caserma di Wozzeck di notte Scena 2 peccato, ma come può essere bello il peccato? Gli occupanti russano mentre Wozzeck si Scena 4 La strada Era lì il Tamburmaggiore? Quando Marie lamenta con Andres: non riesce a dormire Il giorno dopo, nello studio del Dottore Il Dottore va di fretta ed è contrariato quando risponde che non è responsabile di chi perché pensa alla sala da ballo. Entra Il Dottore paga Wozzeck perché faccia da cavia viene fermato dal Capitano, quindi lo obbliga cammina nella strada, Wozzeck la guarda come barcollando il Tamburmaggiore, vantandosi a ai suoi esperimenti dietetici e lo accusa di non ad ascoltare i particolari di alcuni recenti casi se la volesse aggredire. “Meglio un coltello in voce alta della sua conquista, ed esige che seguire le istruzioni, ma è allarmato dalle fatali, poi lo ammonisce: il suo viso arrossato corpo che una mano su di me. Mio padre non Wozzeck beva con lui. Wozzeck gli volta le reazioni e gli dice che potrebbe finire in potrebbe essere sintomo di un’imminente osa da quando avevo dieci anni.” spalle, ma l’altro lo fa alzare e i due vengono manicomio. In fondo a lui interessa più la attacco apoplettico. Il Capitano si abbandona alle mani. Andres esclama, “Sanguina”, e fama che otterrà con la pubblicazione delle sue a fantasticare pensando ai necrologi che Scena 4 l’accenno al sangue colpisce Wozzeck come un teorie che il suo paziente. potrebbero essere scritti per lui. Il giardino di un’osteria. Le coppie danzano al presagio del destino: “Uno dopo l’altro!” Si profila la figura di Wozzeck: fende la folla suono di un Ländler lento Scena 5 come uno dei suoi rasoi, pensa il Capitano. La Due Apprendisti ubriachi descrivono Atto III Davanti alla casa di Marie rasatura gli ricorda lo scandalo tra Marie e il pateticamente l’effetto del brandy e Wozzeck è Scena 1 Il Tamburmaggiore fa la corte a Marie, che lo barbuto Tamburmaggiore e insieme con il sopraffatto dalla gelosia nel vedere Marie che La stanza di Marie di notte respinge quando cerca di abbracciarla, ma alla Dottore comincia a punzecchiarlo: forse ha balla con il Tamburmaggiore. Sta per precipitarsi Una viola solista interpreta il Tema mentre fine cede: “Per me fa lo stesso!” trovato un pelo di barba nella sua minestra? verso di lei quando la musica si interrompe e i Marie legge la storia della Maddalena e fa un

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confronto con la propria vita. Berg ricorre allo Cammina disperatamente nell’acqua per Israeli Opera, l’Opéra national de Paris- Chandos nella serie Opera in English, Sprechstimme per la lettura del brano biblico, lavarsi il sangue dalle mani e scompare mentre Bastille, l’Opéra Comique e il Gran Teatre del sponsorizzata dalla Peter Moores Foundation. ma lo splendido commento è cantato. arrivano il Dottore e il Capitano, che Liceu di Barcellona, oltre a Lione, Nantes, percepiscono uno strano rumore: è un uomo Montpellier, Copenhagen, Amsterdam, Santa La carriera di Dame Josephine Barstow Scena 2 che annega, commenta il Dottore. Fe, Vancouver e Ottawa. Le sue tante (Marie) comprende acclamate esibizioni di Un laghetto nella foresta, più tardi quella sera Il grande interludio in re minore costituisce esibizioni hanno incluso il ruolo di Salome, Tosca, le Lady Macbeth di Verdi e stessa il momento culminante dell’opera: un lamento protagonista in Don Pasquale, Falstaff, Gianni Shostakovich, oltre a una varietà di ruoli in Wozzeck ferma Marie sulla via di casa e le per Wozzeck. Schicchi, Wozzeck e King Priam, oltre a Figaro opere di compositori diversi come Mozart, ricorda da quanto tempo si conoscono. Estrae (Le nozze di Figaro), Don Alfonso (Così fan Beethoven, Verdi, Puccini, Janácˇek e Richard un coltello e la colpisce alla gola. Un Scena 5 tutte), Papageno (Die Zauberflöte), Dulcamara Strauss. Nelle stagioni più recenti si è esibita interludio di due lunghi crescendo sul La strada davanti alla casa di Marie (L’elisir d’amore), Dott. Bartolo (Il barbiere di nei ruoli di protagonista in Medea e Aida, la si naturale inizia tranquillamente su corno I bambini giocano, ma il figlio di Marie Siviglia), Barone Trombonok (Il viaggio a Contessa (La dama di picche), Mrs Alice Ford solo e continua con tutta l’orchestra. rimane in disparte con il suo cavalluccio. Altri Reims), Varlaam (Boris Godunov), Re Dodon (Falstaff ), Kostelnicˇka ( Jenu˚fa), Kabanicha bambini entrano correndo e dicono che Marie (Le Coq d’or), il Barone (La Vie parisienne), (Kát’a Kabanová), Emilia Marty (Il caso Scena 3 è stata trovata morta, poi corrono via. Ma il Frank (Die Fledermaus), Faninal (Der Makropulos), Marie (Wozzeck), Mère Marie Una taverna bambino non capisce; continua a giocare, poi Rosenkavalier), Dikoy (Kát’a Kabanová), (Dialogues des Carmélites), Ellen Orford (Peter Il sipario si alza subito sulla Scena 3, con una si allontana dietro agli altri. Cala il sipario. Dott. Kolenat´y (Il caso Makropulos), Shishkov Grimes), Lady Billows (Albert Herring) e vivace polka eseguita su un pianoforte (Da una casa di morti), Leander (L’amore delle Queen Elizabeth I (Gloriana). Ha cantato scordato. Wozzeck è uno dei ballerini e fa la © 2003 The Earl of Harewood tre melarance), Mr Flint (Billy Budd ), nella parte di Miss Wingrave in un corte a Margret. La donna nota che ha la Traduzione: Emanuela Guastella Mr Gedge (Albert Herring), George Wilson adattamento televisivo di Owen Wingrave, mano macchiata di sangue. Lui cerca di (The Great Gatsby), e il ruolo di Alberich nelle condotto da Kent Nagano, e ha creato il ruolo spiegare ma ben presto esce impetuosamente Considerato il miglior baritono buffo del paese esibizioni concertistiche di Das Rheingold. della protagonista nella prima mondiale di Die dalla stanza. e un eccellente cantante e attore, in Gran Le sue incisioni includono Leporello (Don schwarze Maske di Penderecki al Festival Estivo Bretagna Andrew Shore (Wozzeck) ha lavorato Giovanni), Dulcamara (L’elisir d’amore), il di Salisburgo. È stata poi invitata a tornare da Scena 4 con la English National Opera, la Royal ruolo di protagonista in Don Pasquale, Karajan per esibirsi nella Tosca e in Un ballo in Il laghetto Opera, Covent Garden, l’Opera North, la Dott. Bartolo (Il barbiere di Siviglia), il ruolo maschera. In Gran Bretagna ha cantato con la Mentre cerca il coltello con cui ha ucciso Glyndebourne Festival Opera, la Scottish di protagonista in Falstaff, Benoit (La bohème), Royal Opera, Covent Garden, la English Marie, Wozzeck inciampa nel cadavere della Opera e la Welsh National Opera. All’estero si il Sagrestano (Tosca) e Faninal (estratti da National Opera, l’Opera North e la Welsh donna. Trova il coltello e lo getta nel lago. è esibito con la San Diego Opera, la New Der Rosenkavalier), tutte pubblicate da National Opera; in Europa, si è esibita

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all’Opéra di Parigi, al Bayerische Staatsoper di (Lady Macbeth di Mtsensk) all’Opéra national È ospite frequente della Glyndebourne Festival Giovanni), Alfred (Die Fledermaus), Michel Monaco, all’Opera dei Paesi Bassi, alla de Paris-Bastille, all’Opera di Francoforte e al Opera, con cui si è esibita nei ruoli di Emilia ( Julietta di Martinu˚) e Nanki-Poo (The Flanders Opera e a Lisbona, Barcellona e Teatro alla Scala di Milano; nel ruolo di (Otello) e Geneviève (Pelléas et Mélisande). Ha Mikado); vi è poi tornato come ospite per Palermo; in America, ha cantato con la Florestan (Fidelio) all’Opera di Berna; in cantato nella parte di Nicklausse (Les Contes esibirsi nelle parti di Dott. Caius (Falstaff ), Metropolitan Opera di New York, la San quello di Aegisth (Elektra) e dell’Imperatore d’Hoffmann) presso la Royal Opera, Covent Erode (Salome) e Truffaldino (L’amore delle tre Francisco Opera, la Lyric Opera of Chicago e () al Theater Basel e al Garden, in quella di Isabella (L’italiana in melarance). Ha cantato con la Royal Opera, la Houston Grand Opera. Attrice e cantante di Bayerische Staatsoper di Monaco; ha cantato Algeri) al Buxton Festival, e nei ruoli di Covent Garden, nei ruoli di Sommo Sacerdote primordine, nel 1985 le è stato conferito il nel ruolo dell’Imperatore presso la Deutsche Angelina (La Cenerentola) e Idamante (Idomeneo), Guillot (Manon), il Maestro di titolo di Comandante dell’Ordine dell’Impero Oper di Berlino; nei ruoli di Rienzi e Siegfried (Idomeneo) con la Garsington Opera. All’estero Scuola e la Zanzara (La piccola volpe astuta) e Britannico e ha ricevuto la Fidelio Medal, al Gran Teatre del Liceu di Barcellona; è stato si è esibita con l’Opera dei Paesi Bassi, la Bob Boles (Peter Grimes); presso la Welsh un’onorificenza prestigiosa assegnata Tannhäuser al Teatro Massimo di Palermo; Flanders Opera, la Seattle Opera, la San Diego National Opera si è esibito nella parte di dall’International Opera Directors Association Tannhäuser e Bacchus al Teatro San Carlo di Opera, e di recente ha cantato la parte di Dott. Suda (Osud [Destino] di Janácˇek); e di cui finora sono state assegnate solo sei Napoli; e Siegfried al Tiroler Festspiele e al Eduige (Rodelinda) al Châtelet Théâtre presso il Châtelet Théâtre Musical di Parigi copie. Nel 1995 è stata insignita del titolo di Théâtre du Capitole di Tolosa. Fuori l’Europa Musical con William Christie. Le sue incisioni nelle parti di Lucano (L’incoronazione di Dama Comandante dell’Ordine dell’Impero si è esibito presso la Seattle Opera, l’Opera per Chandos includono Paulus di Poppea), Valzacchi (Der Rosenkavalier) e nei tre Britannico. Omaha, la San Diego Opera, la Canadian Mendelssohn, A Mass of Life di Delius, ruoli di tenore in Lulu; presso l’Opéra du Rhin Opera Company e la New Israeli Opera in Tel The Rape of Lucretia di Britten e, nella serie di Strasburgo nei ruoli di Shuisky (Boris Il tenore Alan Woodrow (Tamburmaggiore) ha Aviv. Opera in English sponsorizzata dalla Peter Godunov), Alfred, Erode, Albert Gregor (Il caso compiuto i suoi studi presso il Royal Moores Foundation, i ruoli di Maddalena e Makropulos), il Capitano (Wozzeck) e Bob Conservatory of Music di Toronto e il London La mezzo-soprano Jean Rigby (Margret) ha Suzuki (Madama Butterfly). Boles; e a Drottningholm nella parte del Opera Centre. Tra i tanti personaggi da lui studiato presso la Birmingham School of Podestà (La finta giardiniera) e nel ruolo di interpretati figurano Canio (Pagliacci), Music e in seguito alla Royal Academy of Stuart Kale (Capitano), un attore/cantante protagonista di Idomeneo. Tra i ruoli con cui si Hermann (La dama di picche), Don José Music con Patricia Clarke, con cui continua noto a livello internazionale, ha studiato presso è esibito in teatri dell’opera e in occasione di (Carmen), Erode (Salome), Bacchus (Ariadne tuttora i suoi studi. Nel corso di una lunga il London Opera Centre con una borsa di festival europei e nordamericani, figurano auf Naxos), Principe Andrei (Khovanshchina) collaborazione con la English National Opera, studio della Peter Moores Foundation. Ha Aegisth (Elektra), il Tamburmaggiore ed Edmund (Lear di Aribert Reimann) per la si è esibita nel ruolo di Amastris (Serse), Rosina iniziato la sua carriera con la Welsh National (Wozzeck), Zinovy (Lady Macbeth di Mtsensk), English National Opera, il Tamburmaggiore (Il barbiere di Siviglia), Maddalena (Rigoletto), Opera ed è poi passato alla English National Captain Vere (Billy Budd ) e Lebbroso (Saint (Wozzeck) per l’Opera North ed Erode per la Carmen, Octavian (Der Rosenkavalier), Jocasta Opera, dove è rimasto otto anni, esibendosi, François d’Assise). Tra le sue incisioni figurano Scottish Opera. Ha recitato nel ruolo di Sergey (Oedipus Rex) ed Elena di Troia (King Priam). tra gli altri, nei ruoli di Don Ottavio (Don Otello, Falstaff, Madama Butterfly, Osud ed

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estratti da Boris Godunov, tutte pubblicate da concertistiche di Fidelio con Walter Weller, ed Attualmente è membro dell’English National (Otello) per la Royal Opera, Covent Garden; Chandos nella serie Opera in English, è apparso sia al Glyndebourne Festival Opera Opera, dove i suoi ruoli hanno finora incluso Conte Almaviva (Il barbiere di Siviglia) e sponsorizzata dalla Peter Moores Foundation. che con la Glyndebourne Touring Opera. Monostatos (Die Zauberflöte), Mime Vanya (Kát’a Kabanová) per la English All’estero Clive Bayley si è esibito con l’Opera (Das Rheingold ), Goro (Madama Butterfly), National Opera; Prunier (La rondine) e il Dopo gli studi effettuati presso il Royal dei Paesi Bassi, la Seattle Opera, la Bayerische Erode (Salome), il Contadino Malvestito (Lady Capitano (Wozzeck) per l’Opera North; Northern College of Music, dove è stato un Staatsoper di Monaco e a Lisbona, Losanna e Macbeth di Mtsensk), Alwa (Lulu) e Lysander Leicester (Maria Stuarda), Rodolfo borsista Peter Moores e ha cantato nel ruolo di Tolosa. Le sue incisioni per Chandos (A Midsummer Night’s Dream). All’estero si è (La bohème) e il Maestro di Danza (Ariadne Claggart in una produzione di Billy Budd, il includono Troilus and Cressida e Billy Budd e, esibito presso il Théâtre royal de la Monnaie di auf Naxos) per la Scottish Opera; e Mr Upfold basso Clive Bayley (Dottore) si è esibito nella serie Opera in English sponsorizzata dalla Bruxelles, l’Opera dei Paesi Bassi, l’Opéra de (Albert Herring) per la Glyndebourne Festival regolarmente con le maggiori compagnie Peter Moores Foundation, Don Giovanni, Don Nice, presso i Festival di Salisburgo e di Opera. Tra le compagnie all’estero con cui d’opera. Ha debuttato con la Royal Opera, Pasquale, Il trovatore, Falstaff, Madama Ravenna, in teatri di Toronto, Vancouver e Peter Bronder ha collaborato, figurano la Covent Garden, nella prima di Gawain, di Butterfly, Turandot ed estratti da Boris altri ancora. Nell’incisione di Peter Grimes, Bayerische Staatsoper di Monaco, l’Opera di Sir Harrison Birtwistle, ed in seguito è apparso Godunov. curata dalla Chandos e vincitrice di un premio Francoforte, l’Opera dei Paesi Bassi, Théâtre nei panni di Hans Foltz (Die Meistersinger von Grammy, canta nel ruolo di Bob Boles. royal de la Monnaie di Bruxelles, Châtelet Nürnberg), Colline (La bohème) e Castro Il tenore John Graham-Hall (Il Pazzo) ha Théâtre Musical di Parigi e la San Francisco (La fanciulla del West ). Con l’Opera North ha studiato presso il King’s College di Cambridge Peter Bronder (Andres) ha compiuto i suoi Opera. Per Chandos, nella serie Opera in cantato nel ruolo di Figaro (Le nozze di e il Royal College of Music. In Gran Bretagna studi presso la Royal Academy of Music e il English sponsorizzata dalla Peter Moores Figaro), Wurm (Luisa Miller), Sparafucile ha cantato, tra gli altri, nel ruolo del Maestro . Dopo una Foundation, ha inciso Pagliacci e Cavalleria (Rigoletto), Ferrando (Il trovatore), un Vecchio di Danza (Ariadne auf Naxos) e in quello di con la Glyndebourne, è diventato tenore rusticana. Monaco (Don Carlos), Arkel (Pelléas et Albert Herring alla Royal Opera, Covent principale con la Welsh National Opera, dove Mélisande), il Dottore (Wozzeck), Sir Walter Garden; Vanya (Kát’a Kabanová) e Bob Boles ha cantato in Così fan tutte, Die Zauberflöte, Nato a Glasgow nel 1973, il basso Iain Raleigh (Gloriana) e l’Arbitro (Playing Away di (Peter Grimes) alla Glyndebourne Festival Il barbiere di Siviglia, I puritani, La traviata, Paterson (Secondo Apprendista) ha studiato Benedict Mason). Tra i suoi successi presso la Opera; Cassio (Otello) e Valzacchi La bohème e Eugenio Onieghin. Recentemente presso la Royal Scottish Academy of Music English National Opera figurano i ruoli di (Der Rosenkavalier) alla Welsh National Opera; vi è tornato per cantare nei ruoli di Pylade and Drama, e continua tuttora i suoi studi con Cadmus (Semele), Ferrando (Il trovatore), Ferrando (Così fan tutte) e Gustav von (Iphigénie en Tauride), Dott. Caius (Falstaff ), Neilson Taylor. Si è esibito nella parte di Pistol (Falstaff ), i quattro Villani (Les Contes Aschenbach () alla Alfred (Die Fledermaus) e Bob Boles (Peter Figaro (Le nozze di Figaro), Leporello (Don d’Hoffmann), Arkel, il Dottore (Wozzeck), e Glyndebourne Touring Opera; e Eisenstein Grimes). Si è esibito nelle parti di Pedrillo Giovanni), Fabrizio (La gazza ladra), Barone Collatinus (The Rape of Lucretia). Si è esibito (Die Fledermaus) e il Maestro di Scuola (Die Entführung aus dem Serail ), Lord Arturo Douphol (La traviata), Pistol (Falstaff ) e nella parte di Don Fernando in esibizioni La piccola volpe astuta) alla Scottish Opera. Bucklaw (Lucia di Lammermoor) e Cassio Zaretsky (Eugenio Onieghin) per l’Opera

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North; Sparafucile (Rigoletto), il Bonzo Richard Stokes insegna lingue presso la quale dirige cori a livello “junior” e Direttore Principale. In precedenza questa (Madama Butterfly) e Timur (Turandot) per la Westminster School, prepara i cantanti per “intermediate”, il New London Children’s carica era appartenuta a Otto Klemperer e da Welsh National Opera; ed Elviro (Serse), l’interpretazione del Lieder e conduce Choir, i Jennifer Lilleystone Singers, e in varie allora l’Orchestra ha collaborato con nomi di Ferrando (Il trovatore), Fasolt (Das Rheingold ), frequenti seminari su compositori di canzoni. scuole a Londra e nell’Inghilterra meridionale. prestigio come Lorin Maazel (Direttore Colline (La bohème) e Tasso (La piccola volpe È co-autore di libri sulla canzone tedesca, Principale Associato), Riccardo Muti astuta) per la English National Opera. francese e spagnola – The Fischer-Dieskau Book La carriera di cantante di Geoffrey Mitchell (Direttore Principale e Direttore Musicale), of Lieder, A French Song Companion (con racchiude un repertorio notevole che spazia Giuseppe Sinopoli (Direttore Musicale) e, Nato nel Queensland, Australia, nel 1975, il Graham Johnson) e The Spanish Song dalla musica antica a quella contemporanea e attualmente, Kurt Sanderling (Direttore baritono Leslie John Flanagan (Primo Companion – e ha collaborato con Alfred che l’ha portato in Scandinavia, Germania, Emerito), Vladimir Ashkenazy (Direttore Apprendista) ha compiuto gli studi presso il Brendel a One Finger Too Many (Ein Finger nella ex Cecoslovacchia, in Canada e Laureato) e Sir Charles Mackerras (Direttore Queensland Conservatorium. In Australia le zuviel ). Recentemente ha pubblicato Australasia. L’esperienza di direzione degli inizi Principale Ospite), oltre che con artisti sue esibizioni hanno incluso i ruoli di J.S. Bach – The Complete Church and Secular con la BBC lo ha condotto ad un maggiore importanti come Wilhelm Furtwängler, Papageno (Die Zauberflöte), Silvano (Un ballo Cantatas e una traduzione del The Veil of coinvolgimento con i suoi stessi cantanti e Richard Strauss, Arturo Toscanini, Guido in maschera), Krusˇina (La sposa venduta) e Order (Ausgerechnet ich) di Brendel, che sarà inoltre alla creazione del Geoffrey Mitchell Cantelli, Herbert von Karajan e Carlo Maria Dancaïre (Carmen). Nel 1997 una borsa di seguito da Boulez on Conducting. Le sue Choir. Le prime registrazioni sono sfociate nel Giulini. L’Orchestra continua a collaborare studio gli ha permesso di recarsi in Gran traduzioni cantate del Wozzeck di Berg per coinvolgimento a lungo termine del con con direttori e solisti di fama mondiale, oltre Bretagna per frequentare la Alexander Gibson l’Opera North, e del Parsifal di Wagner e di Opera Rara, per la quale ha inciso più di ad attrarre nelle sue fila i giovani musicisti Opera School della Royal Scottish Academy of Lulu di Berg per la English National Opera trenta registrazioni. Il Coro gode di una fama europei di maggiore talento. Music and Drama, dove si è esibito nel ruolo sono state accolte con entusiasmo dai critici. sempre maggiore con ulteriore lavoro dalla Orchestra Residente presso la Royal Festival di protagonista in Don Giovanni. Attualmente BBC e da case discografiche internazionali. Per Hall di Londra, occupa una posizione centrale studia con Janice Chapman. Giovane Baritono I Susan Singh Choristers offrono a giovani la Chandos il Geoffrey Mitchell Choir ha nella vita musicale britannica anche attraverso Principale presso la English National Opera cantanti l’opportunità di esibirsi in opere, partecipato a numerose registrazioni nelle residenze regionali che offrono un’opportunità dal 1999, ha cantato in ruoli come Masetto concerti e produzioni teatrali in tutta la Gran applaudite serie di Opera in English con il ideale per espandere il suo dinamico (Don Giovanni), Figaro e Fiorello (Il barbiere Bretagna. Si entra a far parte del coro dopo patrocinio della Peter Moores Foundation. programma educativo, basato sulle comunità. di Siviglia), Marullo (Rigoletto), Donner aver ricevuto un invito e passato un provino, Vincitrice di numerosi premi, è stata lodata (Das Rheingold ), Schaunard (La bohème di ma i candidati devono essersi già esibiti presso La Philharmonia Orchestra, una delle più all’unanimità dai critici per la sua politica Puccini), Colline (La bohème di Leoncavallo), istituzioni come la English National Opera, grandi orchestre del mondo, è diretta per la di programmazione particolarmente innovativa Principe Yamadori (Madama Butterfly) e dove Susan Singh è consulente per l’infanzia, il sesta stagione consecutiva dal famoso maestro e fortemente incentrata sull’impegno ad Barney (The Silver Tassie). Finchley Children’s Music Group, presso il tedesco Christoph von Dohnányi, in qualità di eseguire e commissionare musiche nuove

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firmate dai maggiori compositori Richiestissimo dalle compagnie operistiche e nomina a Direttore Musicale della compagnia di Ginevra, King Priam all’Opéra de Nancy, e contemporanei. dalle orchestre di tutto il mondo, Paul Daniel nel 1997 ha diretto allestimenti di Der Le nozze di Figaro, Kát’a Kabanová e la prima I concerti dell’Orchestra sono trasmessi ha collaborato come direttore ospite con fliegende Holländer, La traviata, Il trovatore, mondiale di Schlachthof V di Hans-Jürgen von sempre più frequentemente da BBC Radio 3, orchestre in tutt’Europa e nel Nord America. Otello, Falstaff, Manon, Les Contes d’Hoffmann, Bose presso la Bayerische Staatsoper di incluso l’apparizione annuale in occasione dei Dopo essere stato Direttore Musicale Boris Godunov, Der Rosenkavalier, Pelléas et Monaco. BBC Proms. La Philharmonia Orchestra gode dell’Opera Factory dal 1987 al 1990, ha Mélisande, Da una casa di morti, Dialogues des Per Chandos, Paul Daniel ha inciso un di una reputazione a livello mondiale ed è ricoperto la stessa carica presso l’Opera North Carmélites, Lulu, Peter Grimes, Guerra e Pace, disco di composizioni vocali e orchestrali di l’orchestra sinfonica che ha inciso di più in dal 1990 al 1997, assicurandosi critiche Nixon in China, oltre alla prima mondiale di Thomas Armstrong e, nella serie Opera in tutto il mondo, con un catalogo di oltre 1000 entusiaste per le sue brillanti esibizioni di Don The Silver Tassie di Mark-Anthony Turnage e English sponsorizzata dalla Peter Moores incisioni, tra cui una serie di colonne sonore Giovanni, Medea, Tannhäuser, Luisa Miller, Il ad esibizioni concertistiche di La gioconda di Foundation, Falstaff ed estratti dal Boris per film e televisione. La sua discografia trovatore, Don Carlos, Falstaff, Boris Godunov, Ponchielli. Godunov. Nel febbraio 1998 Paul Daniel ha include, per Opera Rara, numerosi dischi di Pelléas et Mélisande, Jenu˚fa, Ariane et Barbe- Ha inoltre diretto Mitridate, re di Ponto ricevuto un prestigioso premio Olivier per il recital, oltre a undici opere complete, e nella Bleue di Dukas, Der ferne Klang di Schreker, presso la Royal Opera, Covent Garden, contributo dato al mondo dell’opera. Nel serie Opera in English per Chandos, Wozzeck, Gloriana, King Priam di Tippett e le Béatrice et Bénédict e Khovanshchina al Théâtre 2000 è stato insignito del titolo di sponsorizzata dalla Peter Moores Foundation, prime mondiali di Baa Baa Black Sheep di royal de la Monnaie di Bruxelles, Erwartung e Comandante dell’Ordine dell’Impero Don Giovanni, L’elisir d’amore, Lucia di Michael Berkeley e Playing Away di Benedict Il castello di Barbablù presso il Grand théâtre Britannico. Lammermoor, Faust, Carmen, Aida, La bohème, Mason. In qualità di Direttore Principale è Madama Butterfly, Turandot, la Tosca, stato alla guida della English Northern vincitrice di un premio, e vari album di recital, Philharmonia, l’orchestra residente dell’Opera con assoli di arie d’opera eseguite da Bruce North, dirigendo numerosi concerti in tutta la Ford, Diana Montague, Dennis O’Neill, Gran Bretagna e in vari festival all’estero. Alastair Miles, Yvonne Kenny e John Nel corso della sua iniziale collaborazione Tomlinson. La Philharmonia Orchestra con la English National Opera ha diretto la continua a consolidare la sua fama prima mondiale di The Mask of Orpheus di internazionale con frequenti tournèe e Sir Harrison Birtwistle, oltre alle produzioni di attraverso le recenti, prestigiose residenze Le nozze di Figaro, Rigoletto, Carmen, Tosca, presso il Châtelet Théâtre Musical di Parigi, il Akhnaten di Philip Glass, e King Priam, Megaron di Atene e il Lincoln Center for the allestito in occasione delle celebrazioni per il Performing Arts di New York. novantesimo compleanno di Tippett. Dalla sua

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COMPACT DISC ONE [Pavane] Wozzeck was not spoken before the mite was made. The Captain (mystically) Of course, Herr Hauptmann! Lord said, ‘Suffer the children to come to me!’ Act I It makes me afraid for the world, to think of Captain (laughs loudly) [Double II] 1 [Prelude] eternity. Eternity – that’s eternal, you understand. Ha, ha! Ha, ha, ha! South-North! Captain ( jumping up in a rage) Curtain up Now, all of a sudden, it’s not eternal, merely one (even more loudly) What do you mean? And what sort of curious moment, yes, one moment! Wozzeck, it frightens Ha, ha! Ha, ha, ha! Ha, ha! Ha! Ha, ha! Oh, you answer is that? You make me quite confused! Scene 1 me, when I consider that the world revolves in are dumb, quite absurdly dumb! (His voice cracks.) The Captain’s room. Early morning. The Captain just one day! Whenever I see millwheels go (sympathetically) When I say ‘You’, then I mean ‘You’, ‘You’… is sitting on a chair in front of a mirror. Wozzeck is round, I am laid low with melancholia! 2 Wozzeck, you are a decent man, and yet… you [Air] shaving the Captain. have no moral sense! Wozzeck Wozzeck Captain Of course, Herr Hauptmann! [Quasi Gavotte] Slowly, Wozzeck, slowly! Wretches like us! You see, Herr Hauptmann, One thing at a time! Captain (very dignified ) wealth, wealth! Without money! (anxiously) Wozzeck, you always appear so harrassed! A You don’t conduct yourself morally! (You follow? Let one of us try to bring his own kind into the You make me quite giddy… decent man doesn’t fret; a decent man, with a A most delightful word.) world in a fine moral way! We have flesh and (covers his forehead with his hand; steadies himself ) conscience beyond reproach, always moves (with emotion) blood, too! (Wozzeck stops what he is doing.) slowly… You have a child who is not blessed by our Oh, if I were well bred, and had a top hat, a What can I do with the extra ten minutes leisure (almost spoken) God’s Church. pocket watch and a monocle and a proper Say something then, Wozzeck. accent… then I would be virtuous, too! It must time if you finish early today? Wozzeck (Wozzeck continues shaving with interruptions.) [Gigue] be wonderful to be virtuous, Herr Hauptmann. Of course… But I’m only a poor man! Men like us always (more vigorously) And what about the weather? Wozzeck, consider: you still have thirty years (stops) will be ill-fated in this world and in any other ahead of you, remember! Thirty years! That’s Wozzeck world! I think, if we ever got to Heaven, we’d all Captain three hundred and sixty months, you know. And It’s bad, Herr Hauptmann! have to manufacture thunder! As our regimental chaplain always preaches to then all those days and hours and minutes. What Wind! [Prelude in retrograde: Introduction] the men: ‘Not bless’d by God’s holy Church’ (the can you possibly want with such a vast expanse Captain words are not my own). Captain (somewhat nonplussed ) of time? I sense it; there’s something so blust’ry out there. All right, all right! ( pacifying) I know. (serious again) Such a wind sets my teeth on edge, just like a [Double I] You are a decent man, (exaggerating) a decent Sort yourself out, Wozzeck! mouse. Wozzeck man, (more controlled ) only you think too much. Wozzeck (artfully) Herr Hauptmann, the Lord above will not spurn That’s bad. You always appear so harrassed. Of course, Herr Hauptmann! I think the wind is blowing from South-North? the poor little creature, just because the ‘Amen’ (anxiously)

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Our discussion has quite fatigued me. Wozzeck Andres (stares into the distance) Run along, but don’t rush ahead! Down the This place is accursed! ‘…Nibbling at the long, green grass.’ avenue and back to the barracks. (Wozzeck is See how the mist is trailing over the grass there – (interrupting his song) Andres (spoken) about to depart in his usual haste.) And keep to where the toadstools are springing up. (Both listen anxiously.) What? the middle, remember, nice and slowly, yes Each evening there rolls (whispering) a head. (uneasy, as if to calm down Wozzeck and himself; (The sun is just setting. The last rays make the slowly! (gradually singing) spoken) horizon appear flooded with light.) Someone once picked it up, thought it was a Sing it with me! (Wozzeck exits.) hedgehog. (singing) Three days and three nights (singing exuberantly) Wozzeck Curtain passed by, then he lay on a bed of sawdust. ‘Nibbling at the long, green grass A fire! (Wozzeck stamps on the ground.) A fire! It rises from earth, up to Heaven! Scene change Andres (spoken) Down…’ (Then quite suddenly, like deepest darkness falling, Night is falling, that’s why you’re scared. Relax! twilight sets in, which the eye only gradually gets [Interlude. Pavane] (stops) (Andres stops working, strikes a stance, and sings.) used to.) Wozzeck And with a deaf’ning clamour just like . 3 Scene 2 [Hunting Song II] Hollow! All is hollow. (shouting) Can’t you hear it? An open field outside the town. Late afternoon. Andres and Wozzeck are cutting sticks in the (Wozzeck working on) Andres (resumes) Andres (feigning calmness) bushes. ‘Over there a hare runs out, ‘…to the roots.’ The light is fading. That’s the roll-call. Are you a hunter, I hear it shout! Curtain up quickly Wozzeck (collects up his sticks) I’ve loved to hunt for many years, The earth is opening! [Rhapsody on 3 Chords] But I never learnt to shoot!’ (He staggers.) Wozzeck Wozzeck (spoken) 4 Listen. There’s something moving there below us! Still, all is still, as if all the world died. (Wozzeck stops work.) Andres! This place is accursed! (in mounting fear; shouting) Keep back! Andres Andres (working on; spoken) Wozzeck (spoken) Night! We must get back! So what! Quiet, Andres! That must be the Freemasons! (Andres holds Wozzeck back; Wozzeck tries to pull Andres with him.) (Both exit slowly.) [Hunting Song I] [Hunting Song III] Andres (spoken) Slow curtain (sings to himself ) Andres Hey, are you mad? [Interlude I: Rhapsody] ‘A Hunter I would love to be, ‘Two young hares were nibbling,…’ Wozzeck (stands still ) Shooting ev’ry day! Scene change Hunting would give me such joy – Wozzeck It’s strangely still and close, so close that it That’s what I’ll be!’ That’s it! The Freemasons! Quiet! Quiet! chokes you, stifles you… [Military March]

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5 (military music off-stage) Marie No water clean enough, (He reflects.) And what’s that to you? Take your own eyes to Purest, coolest wine it must be, Perhaps… Curtain up the Jew and have them polished – perhaps then (She notices that the child is asleep.) (mysteriously) you could sell them as two bright little buttons! Purest, coolest wine it must be!’ Is it not written: ‘Behold, the smoke did rise Scene 3 7 (sunk in thought) from the land, as if from a furnace.’ Marie’s room. Evening. Marie stands with her child Margret (There is a knocking at the window.) on her arm at the window. Why – you prim little maid! I’m respectable; but Marie (She starts with fright.) we all know that you can stare your way through Franz! Marie (speaks) Who’s there? seven pairs of leather trousers! Tschin, Bum, Tschin, Bum, Bum, Bum, Bum! (jumps up) Wozzeck (The Military band approaches.) Marie (shouts at her) That you, Franz? And it followed me all the way here up to the Can you hear, boy? They’re coming! Bitch! (opens the window) town. (in great excitement) What’s going to Come on in! (The band, headed by the Drum Major, comes into (Slams the window. She is alone with the child. happen? The military band is suddenly inaudible as the the street before Marie’s window.) Wozzeck (through the window) Marie (perplexed, tries to calm him and shows him window is closed.) Not now! Must go and report! the child ) Margret (in the street, looks through the window (flaring up) Franz! Franz! Your boy!… and says to Marie) Come, my boy! Never mind what they say! (takes Marie What a man! Built like a tree! the child in her arms) You are just a bastard child You’ve cut all the Captain’s sticks as you should? Wozzeck (absently) Marie (through the window to Margret) (sits) and give your mother such pleasure with Wozzeck My boy… Look at him – as proud as a lion! your sweet bastard little face! Yes, Marie. Ah… (without looking at him; absently) (She rocks the child.) My boy… I have to go. (The Drum Major greets Marie, who waves to him.) Hush-a-bye baby… Marie (rushes off ) Margret What is it, Franz? You look so distraught. [Lullaby] (Marie leaves the window.) You little flirt! We’re not used to that from you! Wozzeck 6 ‘What will you do now, poor lamb? Shh! Quiet! I’ve worked it out! There was a Marie (alone with the child, looks at him anxiously) [Quasi Trio] You have a child but no man! formation up there – the sky all aglow! There is Poor man! So distracted! He did not even look at Marie (singing to herself ) Ah, why worry poor mite, so much to be solved. him! He’ll go quite mad with all these visions! ‘Our soldiers, our soldiers, what handsome I’ll sing through the live-long night: You are so still, child. Frightened? It’s getting Marie creatures!’ Hush-a-bye baby, my darling boy, darker, as if you were blind; no light shines from Franz! Nobody cares about us! the street tonight! (stops singing) Johnny, go saddle your horses now, Wozzeck (breaks out ) Margret (still spoken through the window) Fill up their troughs to the brim. And now all is darkness, darkness… Ah! Wretches like us! You see! Your eyes are smouldering! Oats simply are far too rough, Marie, and something else too… I can’t go on… I’m terrified…

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(rushes to the door) Doctor (flaring up) died, that would be far more serious. (again Marie! When ev’rything is dark, (takes a few steps By nature! By nature! Superstition – deplorable agitated ) This is monstrous, Wozzeck, you really across the room with outstretched arms) Quick curtain superstition! Have I not demonstrated that the shouldn’t have urinated! and the western sky just glows like fire, flaming Scene change bladder is subject to the human will? (flares up [Variation V] from a furnace… Oh what, what is there to… again) Call of nature, Wozzeck?! Humans are Doctor Curtain up quickly free! In man, individuality is sublimated into Wozzeck (tries to pacify the Doctor who is making Christ, you’re lurching, as though your body was freedom! furious gestures) (Wozzeck enters.) standing on… (shaking his head to himself ) You see, Herr Doktor, sometimes people have a structure, it’s how we’re made, and yet, and yet Scene 4 (Urinating!) [Variation IX] with Nature it’s different. (snaps his fingers) You The Doctor’s study. Sunny afternoon [Variation II] see, with Nature it’s… it is like… how shall I Wozzeck …cling to? [Passacaglia: Theme] (to Wozzeck again) describe it… I mean… Doctor (rushes to meet Wozzeck as he comes in the Now then, I hope you’ve eaten your beans up, Doctor Doctor door) Wozzeck? (Wozzeck nods.) Only beans, now, Wozzeck, you’re philosophising! …spider legs. nothing else but beans, don’t forget! 8 This is monstrous, Wozzeck! You gave your word. And during next week, we’ll introduce a… [Variation VI] Wozzeck (stays near Doctor; confidentially) Dear, dear, dear! Herr Doktor, when at midday the sun is high, Wozzeck [Variation III] and it seems the world is bursting into Wozzeck When nature has… flames… What is it, Herr Doktor? …little mutton. There’ll soon be a new Doctor (imitating Wozzeck) revolution in medicine: (counting on his What? When Nature has?… [Variation X] Doctor fingers) Protein, lipids, carbohydrates. (broad I saw it all, Wozzeck, again I saw you pissing. gesture) And next: Oxyaldehydanhydride… Wozzeck …then I hear them, terrifying voices start talking Pissing there on the pavement, just like a dog! (gesture) When nature has died, and the world has to me. Is it for this that I pay you three Groschen, (with sudden anger) darkened so, so you have to fumble around for it Wozzeck! Doctor And yet, you insisted on pissing… with your hands, and you feel that it crumbles Wozzeck, you have got an… This is bad! The world is bad, so bad! (goes up to Wozzeck then checks himself ) like spiders’ webs… Ah! When it’s there but is (groaning) Oh! not… [Variation XI] [Variation IV] Wozzeck [Variation VII] …aberatio! No!… I must not get so angry, anger is bad for Surely, Herr Doktor, when forc’d to it by … there! Nature… you and unscientific! I am quite calm, my pulse Wozzeck (interrupting) is beating its regular sixty. Good God! Why lose Ah! Ah! The toadstools! Have you observed the of [Variation I] sleep over a mere human being! If a salamander [Variation VIII] the toadstools out there on the ground?

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[Variation XII] Wozzeck (paying no attention to the Doctor) Scene change Drum Major Figurations and circles… oh to understand them! Ah, Marie! And you’re a real woman! Jesus Christ! We ought [Andante affettuoso] to start a stud for breeding little drummers. Hey?! [Variation XIII] Doctor What must you do? 10 Curtain up quickly Marie Doctor Hands off! 9 Wozzeck – Just like a lunatic! You’re presenting Wozzeck Scene 5 with an idée fixe, a most wonderful… Marie! (tries to break loose; they wrestle) Street before Marie’s door. Evening twilight. Marie (The Drum Major embraces her.) [Variation XIV] Doctor stands admiring the Drum Major. What? Drum Major …aberatio mentalis partialis, second species. [Rondo] Savage beast! Nicely cultivated! Wozzeck Ah! Marie (as the Drum Major poses) Marie (breaking loose) [Variation XV] Show me how you parade! Leave me alone! [Variation XIX] Wozzeck, you shall get another rise! (The Drum Major marches a few steps.) (The Drum Major draws himself up to his full His chest as broad as a bull’s and a beard like a [Variation XVI] Doctor height… and steps close to Marie.) Eat those beans up, then move on to mutton; no lion’s… No one like him! I’m the proudest Drum Major (ingratiatingly) You’re doing all your duties? Shaving your pissing, keep on shaving your Captain, and woman in the world! Captain? Catching my lizards? I see the devil in your eyes. cultivate your idée fixe, my boy! Drum Major [Variation XVII] You should see me Sundays! Just see the feathers (He embraces her again, with almost menacing [Variation XX] determination.) Eating our beans up? I wear! And my kid-white gloves! Christ Oh! (increasingly ecstatic) My hypothesis! Oh my almighty! The Prince himself says: ‘There’s a real Marie Wozzeck fame! I shall be immortal! Immortal! Immortal! soldier!’ Why should I care? Who could give a damn? I do ev’rything, Herr Doktor; the money I earn is for Marie: It’s for… [Variation XXI] Marie (mocking) (She falls into his arms… and disappears with him Really?! through the open door. Stage empty) [Variation XVIII] (at the height of ecstasy) Immortal! (suddenly quite calm, walking up to Wozzeck) Wozzeck, let me (walks up to him) Slow curtain …her I work! look at your tongue now! (admiringly) Man! End of Act I Doctor (Wozzeck obeys.) You are a fascinating case. Just behave yourself, Wozzeck, and there’ll be yet another Groschen Curtain (at first very fast, then suddenly slow, and payment. But what d’you have to do? closing very gradually)

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COMPACT DISC TWO (The child, very frightened, has hidden his head in Marie Marie (alone) the folds of his mother’s dress, and keeps quite still.) What? I’m a slut, a… Act II (looks at herself again in the mirror) Wozzeck [Recapitulation: Main Theme] 1 [Introduction] [Expositon Repeat] Gleaming there beneath your fingers. …foul slut. I wish I were dead – Oh, this world! Curtain up I bet they’re gold! Marie We’ll all go to the Devil: man and wife and Girls like us have just a corner in the world and An earring… I just found it. child! [Sonata Movement. Exposition: Main Theme] a shard of mirror… Wozzeck (looks at the earring questioningly) Quick curtain Scene 1 (with sudden intensity) I have never found things like that… Marie’s room. Morning, sunshine And yet, I have lips ev’ry bit as red as society Scene change (somewhat menacingly) two together. ladies with their mirrors from ceiling to floor, Marie (with the child on her lap, is looking at 3 Curtain up and all their handsome men, who take up their Marie (flaring up) herself in a broken piece of mirror) hands and kiss them. But I am just a poor You’re calling me a slut! How they glisten brightly! wretched woman! Scene 2 I wonder what they are? What was it he said? (The child sits up.) Wozzeck (calming her) A street in the city. Day (She ponders.) Alright, Marie! Alright! (crossly) [Fantasia and Fugue on 3 Themes] Quiet! boy, and close those eyes! (turning to the child ) [Second Theme] (Captain and Doctor meet.) (She flashes the mirror.) Look at him, fast asleep! Lift his little arm up, (to her child, who has stirred ) The sandman is here, he’s on the ceiling… the chair’s hurting… bright beads of sweat are Captain (from a distance) Sleep, child! Close your eyes, my boy. (The child (The child does not obey.) forming on his brow. Slave all day in the heat of Why are you rushing, my dearest friend, old hides his eyes behind his hands.) Tightly! Still (almost angry) the sun, and then sweat all night. Wretches like coffin-nail? tighter! us! Shut your eyes up tight! (flashes the mirror again) Doctor (in a great hurry) Good boy! (The child moves again.) Still, or else Or he will stare right inside, and he’ll blind you… (in quite a different voice) he’ll get you! Here’s some more I’ve saved, Marie, (counts it out Why are you dawdling, my dearest friend, dear 2 (Wozzeck enters, behind Marie: she does not notice into her hands) my wages, some from the regimental wanker? [Concluding Theme] him at first, and remains motionless, like the Captain and the Doctor. (hurries on) intimidated child, waiting to see the effect of her (with a feigned eeriness of expression, but roguish, game with the mirror.) Marie Captain almost wanton) (Marie suddenly jumps up and puts her hands to God bless you, Franz! Why not take your time! ‘Maiden, quick, close the door! her ears.) Gypsies will soon be here; Wozzeck (He tries to catch up with the Doctor.) They’ll take you by the hand, Wozzeck I must go, Marie… God bless! Doctor Out (frighteningly) into gypsy land.’ What’s that, there? (exits) Can’t stop!

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Captain (The Doctor moves off slowly. The Captain takes Captain (groaning) Doctor Don’t run so fast, man! Uff! (takes a deep and another deep breath. The Doctor decides to listen to For God’s sake! 4 Hey, Wozzeck! noisy breath) Don’t run so fast! A decent man the Captain.) (Wozzeck stops.) shouldn’t run so fast. (His voice cracks.) A decent Doctor Why rush headlong past us like a gale? Doctor man… Yes! (in full swing) Those will be more or less (Wozzeck salutes and starts off again.) Female took a month to die! (stands still; your prospects throughout the forthcoming four Stay awhile, Wozzeck! Doctor mysteriously) Cancer uteri. (The Captain grows weeks. Come what may, I’d like to assure you Can’t stop, can’t stop! uneasy.) At least a dozen patients have perished that you will provide a fascinating, thrilling case (Wozzeck decides to stay and comes slowly back.) like her. (about to move on) A mere four weeks! Captain hist’ry for us, and if the good Lord paralyses one Captain (calm again; to Wozzeck) …a decent… (still more breathless) You’re rushing Captain side of your tongue, too, we shall conduct most You’re rushing through the universe like a razor headlong into your coffin! Doctor, don’t frighten me like that! There are glorious, glorious experimentation! slicing the air. We’ll cut ourselves on you! some people who’ve died of fright, of pure and (The Captain looks closely at Wozzeck, who stands (His voice cracks completely.) (The Captain grasps at the Doctor and holds him simple fright! fast. The Doctor tries to escape from his grasp.) there dumb and earnest. Then he turns, somewhat Doctor (irritably) ashamed, to the Doctor and continues with Doctor I’m not wasting time, you idiot. reference to the latter’s beard.) A mere four weeks! Make a splendid specimen Captain You run, as if all the whiskers of the professorial pot! Stop, Doctor! I won’t let you go! Coffin-nail! (The Doctor slows down a little, so that the grey beards needed shaving and you would be Captain catches him up, and plucks several times at Necrophile! A mere four weeks? (quite out of Captain hanged, so long as a single hair… his coat.) breath) There are some people who’ve died of Oh, oh, oh… fright… (voice cracking) Doctor! [Fugue. First Theme] Captain (The Doctor stands still and observes the Captain (He coughs with excitement and exertion, breathes A decent man… Exactly! (whistling) Talking of grey beards… cold-bloodedly.) deeply, coughs, breathes; the Doctor taps him on the Doctor back to ease his cough; he coughs more weakly.) ( pondering) (What was it I was saying?) Can’t stop, can’t stop, can’t stop! Doctor (in a pleasant tone of voice) (with emotion) (thinking and occasionally whistling) Now for you! Hm! Bloated facies, fat, bulging I see the mourners sobbing, with their Talking of grey beards… Captain neck, apoplectical constitution. Yes, Herr handkerchiefs wet with weeping. [Second Theme] Please don’t run like that, my dearest coffin-nail! Hauptmann, (mysteriously) you might well have (with even more emotion) You’re wearing your poor old soles out on these an apoplexia (like a donkey) cerebri quite soon; All of them will be saying: ‘He was a decent Doctor (quoting) paving stones. quite possibly you will be stricken, but only man, a decent man.’ ‘A fine long beard beneath the chin…’ (Hm!) (The Doctor has stopped.) down one side of your body. Yes! It may well What was it Pliny said? (insinuating) One ought ( panting between words) transpire that you’ll be partially paralysed, (once (The Doctor, deeply moved and trying to distract to stop our soldiers growing long beards. Permit me to… (gradually calming down) to save more very mysteriously) and if you’re fortunate, the Captain, sees Wozzeck, who salutes as he hastens (The Captain understands the Doctor’s insinuation a fellow human being. (deep breath) from waist down! past.) and taps his forehead.)

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(The Doctor listens with considerable amusement to Wozzeck Doctor (looks at Wozzeck enquiringly) Scene change the Captain, humming his Theme and beating Herr Hauptmann, I’m just a wretched devil! In And face muscles stiff, and tense, staring 6 [Largo] time with his stick as if it were a Drum Major’s this world, she’s all I’ve got! Herr Hauptmann, if eyes… staff.) you’re tricking me… Curtain up Wozzeck Captain Captain (flaring up) God in Heaven! It makes you want to die, to Scene 3 Ha! (taps his forehead again) Of course! Talking Trick?! Me? How dare you? Trick! Bastard! string yourself up! Then you would know just Street before Marie’s dwelling. A dull day. Marie of long beards! What’s wrong, Wozzeck? Did you where you stood! stands outside her door. Wozzeck comes rushing up Wozzeck to her. find a hair from such a beard inside your bowl (rushes off, without taking leave) this morning? Ha, ha! Do you follow me? (The Herr Hauptmann, the earth to some is hot as hell, and hell is… is cold beside it. Marie (spoken) Doctor hums.) A hair from you know who… Captain ( puzzled, follows Wozzeck with his Good morning, Franz. the beard of a recruit… or some sergeant major Doctor eyes) Wozzeck (stares at her and shakes his head; spoken) that we know… or else one of some drum major Your pulse, Wozzeck! Just look how he runs, with his shadow in There’s no proof, there’s no proof. Oh, just to perhaps! (feels his pulse) pursuit! grasp, grasp the evidence in both these hands! Doctor Short… sharp… arhythmic. Doctor Hey, Wozzeck! But never mind, you’ve a A real phenomenon, our friend Wozzeck! Marie Captain What’s wrong, Franz? splendid woman! Bastard! D’you want to take a bullet? Captain It makes me giddy (singing through his nose) just Wozzeck [Third Theme] Wozzeck Is it really you?! Such a sin, a sin so rank and so Sir… to see him! He looks so (nasal once more) desperate! Wozzeck (in a normal voice) That’s not to my liking – putrid, that it would smoke out, smoke out all 5 But what are you trying to tell me, Herr Doktor? Captain (The Doctor, fearing a new emotional outburst, the angels from Heav’n. But you’ve a pair of And you, Herr Hauptmann?! You’re stabbing me with eyes like daggers! begins to move off as if suddenly remembering his such fine red lips, of such fine red lips – there’s no blister there? Captain Wozzeck (snatches his hand from the Doctor) haste at the beginning of the scene.) What a face the bastard’s making! Well! So you Herr Hauptmann… A decent man is grateful unto God. A decent Marie found none in your dinner, but if you were to man has no need to be brave! (with reference to You are fev’rish, Franz, I’m frightened… Captain Wozzeck) Only turds need to be brave! run around the corner now, it could be you’d Wozzeck (with a more singing tone) I mean well by you, for you’re a decent fellow, ( joins the Doctor; as he leaves) find… on a pair of lips… a specimen! A wisp of You are sweet, (full singing voice) ‘Sweet as Sin’. Wozzeck, a decent fellow! Only turds! hair! (sweetly) And what lips! And what lips! Oh! (spoken) How, then, can a mortal sin be (off-stage) You’re not the only one to lust after flesh! (in an Wozzeck (to himself but getting louder) beautiful, Marie? (He points suddenly to a place by Turds! altered tone) But good God, man, your face is It could well be so… For we… It could well be the door; flaring up.) There! Was it there he deadly white! so… Curtain stood, then? (strikes a posture) Like this?

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Marie Wozzeck (stands staring at her) groups, one group around the two drunken Wozzeck (spoken) I can’t prevent men from standing on the ‘Sooner a dagger…’ Apprentices.) ‘On and on! On and on!’ pavement… (in a frightened whisper) For my soul, for my own immortal soul stinks of (sinks down on a bench near the dance floor) Ah, man is a chasm. It makes the head reel, alcohol! It stinks, and I know not wherefore. (to himself ) Wozzeck when you look down inside… (as he walks off- Wherefore is the world so gloomy? Even money Writhe, then! Grapple! Why doesn’t God Devil! Was it there he stood then? stage) I’m reeling… rots and putrifies! extinguish the sun! Marie The whole world writhes and rolls in (The stage is empty.) [Trio I] Just as the day is long and the world ancient, so fornication… can many people stand in one place, you know, Slow curtain Second Apprentice Male and female, man and beast! one after the other. Forget me not! Brother! Comrade! (embraces First (looks again at the dance floor) 7 Scene change Apprentice) Wherefore is the world so fair! If Moist! Moist! Wozzeck [Slow Ländler] only our noses were two full bottles, we could She’s moist with lust! I saw him right there! drain them empty, pour them down each other’s So moist! Moist! Cutain up slowly Marie gullet. The whole wide universe is red! Brandy is (jumps up violently) You can see much (Wozzeck is gradually losing his (tavern music onstage) what I live for! How he gropes her with his hands! Fondling her self-control.) if you’ve got eyes to see and if you’re thighs! And she just laughs!… First Apprentice not blind and if the sun is shining. Scene 4 For my soul, for my own immortal soul stinks. Tavern garden. Late evening. Apprentices, soldiers, Marie (among the dancing couples, with the Drum Wozzeck Oh! That is sad, so sad, so sad, sad! serving girls, some dancing, others watching Major) You with him! (falls asleep) On and on! [Scherzo I. Ländler I] Marie (bold ) (Everyone returns to the dance floor and begins to Drum Major And why not? First Apprentice dance, among them Marie and the Drum Major.) On and on! I’ve got a shirt on, though it is not mine… 8 (tavern music onstage) Wozzeck (rushes at her, shouting) (Wozzeck is getting more and more agitated.) Bitch! Second Apprentice (imitating First Apprentice) [Scherzo II. Waltz] It is not mine… (Wozzeck rushes on; he sees Marie dancing past Marie Marie On and on! Leave me alone! (Wozzeck slowly drops his hand.) First Apprentice with the Drum Major.) And my own soul, it stinks of alcohol. Sooner a dagger in my heart than you could Wozzeck (spoken) Drum Major touch me there. (as she walks off-stage) My father [The Ländler ends.] Him! Her! Damn! On and on! did not dare to, once I was ten years old. (The apprentices, soldiers and girls move in a Marie (dancing past, singing) Wozzeck (at last unable to control himself ) (She goes into the house.) leisurely way from the dance floor, and gather in On and on, on and on! Bitch!

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(He is about to rush on to the dance floor, but the Wozzeck (He is bored and, thinking more of dancing, turns Even money rots and putrifies and my own soul, dance finishes and everyone leaves the floor. He sits Is it late? away from Wozzeck, whistling.) it stinks of alcohol. down again.) Andres (General uproar. The speaker is surrounded and I… Wozzeck (alone on the bench) Eleven. Drunk? No chance! No such luck! carried away by some of the apprentices.) [The Waltz ends.] (tavern music onstage) (The First Apprentice, who has meanwhile revived, [ ends.] Youths and Soldiers [Scherzo I (varied). Ländler] climbs on the table and begins to preach, to the (The others return, singing, to the dance floor or to 9 A hunter from the Rhine accompaniment of the band.) the tables in the background.) Was riding through a leafy wood! Wozzeck [Melodrama] [Trio II] Halli, hallo! Halli, hallo! Oh? I thought it was nearer twelve! How time goes limping by, when there’s such fun! Oh, happy is the hunter’s life [Trio I (varied)] Soldiers and Youths Upon the grassy heath! Andres Oh, happy is the hunter’s life. First Apprentice Halli, hallo! Halli, hallo! Why sit alone so near the door? Halli! 10 And yet, if a traveller pauses by the flowing (Andres, seizing the , sets himself up as a Wozzeck stream of time, and reflects and ponders on the Andres (going upstage) chorus conductor and gives a final ritardando so But I like it here. Many people sit near to the omniscient wisdom of our Maker and questions: O daughter, dearest daughter… that he can come in with the last chord of the door and do not know it (The orchestra gradually Wherefore, then, is man? (with feeling) But, (The Idiot suddenly appears and creeps up to chorus as it dies away.) takes over the music of the band.) ’til they are verily, verily, brethren, I say to you: (ecstatic) It is Wozzeck, who is still sitting on the bench, having carried out through the door feet first! good so! Otherwise, how could the farmer, the taken no part in the proceedings. As the band Andres cask-maker, the tailor, the quack earn a living, if members begin to tune their instruments, the Idiot O daughter, dearest daughter, (Everyone continues to dance in Ländler tempo.) God had not created human beings? (laughter presses closer to Wozzeck.) What were you thinking of, Andres among the crowd ) Just think; how could the As you flirted with the coachman, The Idiot (quite close to Wozzeck, very free, but in The ground is hard. tailor earn a living, if the good Lord had not first the phrasing and gesture of waltz rhythm) And with stable boys made love? imbued mankind with feelings of shame at his Happy, happy… Hallo! Hallo! Wozzeck nakedness? The soldier and the landlord, if He (Wozzeck at first does not notice the Idiot.) I’m fine here, and in the cool grave I’ll feel even had not giv’n him the craving to quench his Youths and Soldiers (very free , but in melodic continuation of better still. thirst and the craving to blow each other’s brains Oh, happy is the hunter’s life the stage music) out? Therefore, beloved, do not doubt, for Upon the grassy heath! (The dance ends. Apprentices and soldiers leave the …and yet it reeks. Halli, hallo! Halli, hallo! dance floor and turn to the First Apprentice.) ev’rything is as it should be… (in a completely different voice) And yet all is vanity on this earth. Wozzeck (very free recitative, but with no melodic (Andres gives the guitar back to the player in the Andres (gradually resumes his tearful tone, as at the connection with what has gone before) band and turns to Wozzeck.) Are you drunk, man? beginning of the scene, finishing in Ländler tempo) Fool, what is it?

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The Idiot see them all so clearly, I can hear the fiddles Drum Major (Meanwhile Wozzeck has slowly lifted himself from It reeks, reeks of blood! scream: ‘On and on, on and on’. And those Try asking Wozzeck there! the ground onto his bed.) voices behind the wall. (getting excited ) (He pulls out a bottle of brandy from his pocket, Wozzeck (continuing the recitative of the Idiot ) Can’t you hear, Andres? How they play and drinks from it, and hands it to Wozzeck.) A Soldier ( pointing to Wozzeck) Blood? Blood, blood! dance? Drink, bastard, drink! I wish the world were He’s had enough! (Everybody again begins to dance – including Schnapps, Schnapps. Drink it, you bastard! Marie and the Drum Major.) Andres (sleepy) (He turns over, and goes to sleep.) (drinks again) Let them dance then… [Scherzo II. Waltz] Drink, damn you, drink! Andres Wozzeck (Wozzeck looks away and whistles.) He’s bleeding. It is all red before me. And then all the time I see it flashing like a knife (very angry, shouting) They seem to writhe and roll and fornicate with (He, too, turns over, and goes to sleep.) before me, like a shining dagger! Bastard, shall I rip your tongue from your gullet each other… and wrap it round your fucking neck? Andres Wozzeck Quick curtain (They wrestle.) One after the other! Sleep, fool! (Wozzeck is thrust to the ground.) Scene change Wozzeck Shall I squeeze you ’til you’ve no more breath (The other soldiers, who had risen on their beds [Scherzo II] ‘Dear Lord and Father…’ than an old woman’s fart? during the fight, have all lain down again, one (He prays.) (He grasps the prostrate Wozzeck firmly by the after another, after the Drum Major’s departure 11 Sleeping soldiers, at first with the curtain closed, ‘…and lead us not into temptation, throat.) and are once more sleeping.) sing with half-closed mouths, softly, though loud Amen!’ (bending over Wozzeck) (Wozzeck remains seated, staring in front of him.) enough to be clearly audible. Bastard… (The sleeping soldiers sing as at the beginning of the Curtain Curtain up slowly (lets him go, pulls himself up and takes the bottle scene.) from his pocket ) End of Act II Scene 5 [Rondo marziale] (Wozzeck sinks back exhausted.) Curtain up Guardroom in the barracks. Night. Andres is lying Now let the bastard whistle, (drinks again) ’til Drum Major (enters noisily, very drunk) on a wooden bed with Wozzeck, asleep. The soldiers he’s blue, blue in the face! 12 I am a man! I’ve got a woman; Jesus Christ, a Act III are sleeping on wooden beds. (whistles) woman! To breed a race of little drummers! (triumphantly) Scene 1 [Introduzione] Her breasts so firm and Christ what an arse! That’s what I call a man! Marie’s room. Night, candlelight. Marie, alone, sits With eyes like smouldering embers. A real Wozzeck (groans in his sleep) at the table, turning the pages of the Bible and Venus, Jesus Christ! Oh! Oh! (starting up) Andres! Andres! I cannot (He turns and crashes out of the door, which slams reading. The child is near her. sleep at all. (The soldiers stir at Wozzeck’s words, Andres after him.) but do not wake.) Each time I close my eyes I can Hey, who do you mean? (scene without Drum Major) [Invention on a Theme]

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Marie (spoken) [Variation VI] Marie Wozzeck (whispering to himself ) 13 ‘And out of his mouth there came forth neither As he had nobody else in the world…’ (sung) But I have to go. When cold, girl, you’ll freeze no more. You’ll deceit or falsehood…’ (sung) Dear God! Dear And Franz has not been, yesterday or today… freeze no more come morning dew. God! Don’t look on me! Wozzeck [Variation VII] …Come. Marie [Variation I] (They sit down.) What do you mean? (hastily leafing through the Bible) So far you’ve journeyed, Marie. But you shall (turns the pages and reads again; spoken) What is written here of Mary Magdalena?… Wozzeck ‘Wherefore the Pharisees brought him a woman hurt your poor feet no longer. It’s quiet here, and Nothing. taken in adultery.’ ‘Jesus said to her: “I condemn [Fugue] so dark. Tell me, Marie, how long has it been since our (a long silence) thee henceforth no more. Go… 17 (with some singing voice) first meeting? (The moon rises.) 15 ‘And falling on her knees before Him, and [Variation II] Marie weeping, she kissed his naked feet and washed Marie How the moon rises red! …forth, go forth in peace and sin no more.”’ them with her weeping, anointing them with At Whitsun, three years. (sung) Dear God! (covers her face with her hands) ointment…’ (beating her breast; fully sung) Wozzeck Saviour! Let me anoint thy feet with ointment – Wozzeck Like iron wash’d in wet blood! [Variation III] And how long d’you think that it might go on? Saviour, as you had mercy on her, have mercy (draws a knife) (The child presses up to her.) now on my soul! Marie ( jumps up) Marie It pierces my heart to see the boy. Out! ( pushes Slow curtain I must go. You’re trembling? the child away) My… Scene change Wozzeck ( jumps up) [Variation IV] What now? Curtain up Frightened, Marie? And you so pure? (laughing) …sin’s hot as the sun! And good. And true! Wozzeck (suddenly gentler) Scene 2 ( pulls her down again on to the seat) Not me, Marie, then none other either! Ah, no! Come here! (draws him closer) Come to Forest path by a pool. It is dark. Marie enters with (bends over her in deadly earnest) (He seizes her and plunges the knife into her throat.) me! Wozzeck from the right. Your lips are beautiful to touch, Marie! (kisses her) Marie [Variation V] [Invention on a Tone (B)] I’d forfeit Heav’n and earth, even paradise, if I Help me! could forever kiss you! But no, I cannot! You’re 14 (spoken) ‘And once there was a lonely child, and Marie (She sinks down. Wozzeck bends over her. Marie 16 trembling? he had no father and had no mother, for both The town is over there. It’s still far, come quickly. dies.) were dead; there was no one in the world, and so Wozzeck Marie Wozzeck he went hungry and he wept, day and night. You must stay with me, Marie. Come, sit here… The night dew falls. Dead!

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(He rises to his feet anxiously, then, in three stages, (leads her to his table and pulls her on to his lap) Margret (imitating Wozzeck’s tone of voice) Scene change rushes silently away.) Margret, you’re hot and moist… But how… did it… reach your elbow? Curtain up ( presses her to him, then lets her go) Curtain Wozzeck Just wait, one day you’ll be cold too! I must… have wiped… wiped it off. Scene 4 Scene change Can’t you sing, girl? Margret Forest path by the pool. Moonlit night as before. Curtain up quickly Margret (accompanied by the piano; Wozzeck Ugh! Ugh! Wozzeck staggers on hastily, then stops, searching for listens to her song) something. To Swabia I will not dare A Youth Scene 3 Your right elbow wiped with your right hand? [Invention on a Hexachord] A low tavern. Night, poorly lit. Youths and For dainty dresses I’ll not wear. Wenches – including Margret – are dancing a For flowing dresses, pointed shoes, Wozzeck ( jumps up) A servant girl can never choose. Wozzeck (spoken) wild Polka. Wozzeck sits at one of the tables. An Stop staring! Leave me alone! 19 The dagger? Where is the dagger? It was there I out-of-tune upright piano is being played onstage. Wozzeck (flaring up) Margret left it. Nearer, still nearer… I’m scared. It’s No! Wear no shoes; you can go bare-footed in moving there. [Invention on a Rhythm] It stinks of human blood! hellfire! Who wants a fight then? Come on! (whispering loudly) Wenches Still! Wozzeck Margret No doubt it stinks of human blood! 18 Dance, damn you! Dance away! Leap, sweat and But what is that there on your hand? (spoken) stink, for some day soon he’ll fetch you all, the Wozzeck All is still and dead. Devil! Wozzeck Am I murd’rer? Out! (shouting) Me? Me? Murd’rer! Murd’rer! (whispering) Ha! A cry. (dashes down a glass of wine) Youths (spoken) No, my own. (drowning the pianist) Margret Blood, blood, blood – of human blood! Three riders came riding up to the Rhine, Crimson! Blood! (Still searching, he staggers forward a few more Wozzeck steps and comes on the corpse.) And stayed with my hostess to taste of her wine. Wozzeck Or else you’ll go to the Devil! Marie! Marie! Why d’you wear that lovely (The pianist plays as if trying to find an Blood? Blood? crimson cord round your neck? And was that accompaniment to Wozzeck’s song.) (storms out) My wine is good, my ale is clear, (People gather round them.) crimson necklace reward, (resumes singing) like My daughter dear lies on her… Margret those gold earrings, for all your sins? (spoken) Margret (breaking off ) No doubt, of human blood! Why is your raven hair so tousled and wild? Yes, blood, blood. Jesus! (jumps up) Come, Margret! Murd’rer! Murd’rer! They’ll soon come looking Quick curtain (dances a few steps with her, then stops suddenly; Wozzeck for me. The knife will betray me! (seeks it the piano breaks off ) I must… I must… have cut myself, just there on (The voices of the Youths and Wenches fade behind feverishly) Found, at last! Sit next to me, Margret! my right hand. the closed curtain.) (at the pool )

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Now, to the bottom! (throws the knife in) It sinks Captain Children (playing and shouting) First Child into the water like a stone. It’s the water in the pond – the water calling. It’s 22 Ring-a-ring-a-roses, all fall down! Out there by the path, near the pond. (The moon comes up blood-red through the clouds.) a long time since anyone drowned. Ring-a-ring-a-roses, all… (looks up) Come away, doctor! It’s not good to hear it. Third Child (They break off.) But no, the moon will blabber… The moon is Come on! Let’s go and look! (tries to drag the Doctor away) (Other children come rushing on.) bloody. Must then the whole wide world be (All the children run off.) screaming it?! The dagger too near to the shore, Doctor (stands still and listens) First Child (spoken) they’ll find it when bathing or else when they go A groan… Like somebody dying. Hey, Katy! Heard about Marie? Children mussel-diving. Someone’s drowning! Come on! (He wades into the pool.) Second Child Marie’s Boy (riding) (with a stifled singing voice) Captain What is it? Uncanny! The moon red, and the mists grey. Hop, hop! Hop, hop! Hop, hop! I’ve lost it. First Child Can you hear? (spoken) Don’t you know? They’ve all gone out to look. Again that groaning. (Marie’s boy, alone, hesitates a moment, then rides 20 I ought to wash myself clean. Blood all over! off after the other children.) Third Child (to Marie’s boy) There’s a spot… and others, too. (lamenting) Ah! Doctor (exit) Hey! Your Mother’s dead! Ah! I’m bathing deep in blood. Fainter… (The stage is empty.) The water is blood… Now quite still. Marie’s Boy (still riding his hobby-horse) Blood… Hop, hop! Hop, hop! Hop, hop! Curtain Captain (drags the Doctor away) (He drowns.) Come on! Come quickly! Second Child End of the Opera Where is she then? Translation: © 2003 Richard Stokes (The Doctor enters.) (The Doctor follows him quickly.) Captain ( following him; spoken) Curtain Stop! 21 Scene change Doctor (stands still ) Can you hear? There! [Invention on a Key] Curtain up Captain Jesus! What a sound! Scene 5 (last) (stands still ) In front of Marie’s house. Bright morning, sunshine. Doctor (pointing to the pool ) Marie’s child is riding a hobby horse. Yes, there! [Invention on a Quaver Motion]

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Chandos 24-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Artistic consultant to the Peter Moores Foundation: Patric Schmid Staging director: Charles Kilpatrick Language and vocal consultant: Ludmilla Andrew Piano supplied by Jaques Samuel Session photographs by Bill Cooper Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Michael Common Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Colosseum; 14–18 July 2002 Front cover Photograph of Andrew Shore and Dame Josephine Barstow in Opera North’s production of Wozzeck Back cover Photograph of Paul Daniel © /ArenaPAL Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright Universal Edition p 2003 Chandos Records Ltd c 2003 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Dame Josephine Barstow, Tony Legge and Paul Daniel Printed in the EU

134 SOLOISTS/PHILHARMONIA ORCHESTRA/DANIEL CHAN 3094(2) Printed in the EU CHAN 3094(2) England • Recorded in 24-bit/96kHz Recorded LC 7038 DDD TT 91:43 Essex • Susan Singh Choristers Singh Susan Choir Mitchell Geoffrey Orchestra Philharmonia Daniel Paul 2-disc set Colchester • bass bass tenor tenor tenor tenor soprano baritone baritone mezzo-soprano DIGITAL Woyzeck Chandos Records Ltd Ltd Chandos Records • TT 57:43 COMPACT DISC TWO CHANDOS 2003 Chandos Records Ltd c ...... Iain Paterson Paterson ...... Iain (1885–1935) ...... Leslie John Flanagan Flanagan ...... Leslie John TT 34:00 ...... Alan Woodrow Woodrow ...... Alan ...... John Graham-Hall Graham-Hall ...... John COMPACT DISC ONE , a soldier Shore ...... Andrew ...... Jean Rigby Rigby ...... Jean ...... Stuart Kale ...... Stuart ...... Clive Bayley Bayley ...... Clive , a soldier Bronder ...... Peter ...... Dame Josephine Barstow Barstow Josephine ...... Dame 2003 Chandos Records Ltd p Margret Alban Berg Wozzeck 7 (fifteen scenes), Op. acts in three Opera play Büchner’s after Georg Alban Berg by Libretto Stokes Richard translation by English Wozzeck Major Drum Andres Captain Doctor First Apprentice First The Idiot Marie Children Wenches, and Girls Youths, and Soldiers Boy, Marie’s Second Apprentice Second

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