Die Erd ist höllenheiß: Darmstadt's two Wozzecks

Getting to hear Alban Berg's Wozzeck is always a treat, and on Saturday I had the opportunity to hear it paired with Manfred Gurlitt's Wozzeck, composed almost at the same time, and, in contrast to Berg's, almost never performed. Both works use the text of Georg Büchner's "dramatic fragment"; the composers selected and ordered the scenes differently, but a great deal of the material is shared by both operas. The bicentennial of Büchner, who lived in Darmstadt, provided the impetus for the city's opera house to present the works together, with a shared director and creative team.  Berg was famously inspired by attending the belated stage premiere of Büchner's play in 1913; Gurlitt was in charge of the stage music for those Münich performances. Berg's opera had its sensational premiere at the Berliner Staatsoper in December of 1925; when Gurlitt's Wozzeck was first performed in Bremen the following April, under the composer's baton, newspaper headlines spoke of it as the "other" or the "second" Wozzeck. Although Gurlitt's opera may stand inevitably in the shadow of Berg's masterpiece, the Darmstadt presentation made a good case for it deserving better than oblivion.

Er läuft wie ein offenes Messer durch die Welt: Salonen leads Wozzeck at Lincoln Center

Twentieth-century trauma: Simon Keenlyside as Wozzeck
Photo (c) Lincoln Center/Stephanie Berger

The performance of Alban Berg's Wozzeck given by Esa-Pekka Salonen and the Philharmonia orchestra on Monday was of a lucid beauty that did nothing to diminish the impact of the work's bitter, brutal narrative. Salonen and the orchestra gave a reading of the score that was dynamically and expressively nuanced, richly textured without being dense. The relationship between orchestra and singers was symbiotic, creating an atmosphere that was unremittingly intense throughout the changes of mood between scenes. In the performance of Simon Keenlyside in the title role, the anxiety and anguish present throughout the opera seemed to find their distillation.

Wozzeck: Der Mensch ist ein Abgrund

Alan Held as Wozzeck; (c) Cory Weaver/Metropolitan Opera

I'd been looking forward to the Met's Wozzeck for some time, but I didn't expect to love it.  It was, of course, abysmally bleak.  It was also brutally honest, surprisingly beautiful, and almost unbearably poignant: in short, one of the finest nights I've had at the opera this year, and perhaps ever.  For a synopsis, go here.  The tragedy was inevitable, and it had me on the edge of my seat.  The singing and acting of all the principals was of an exceptionally high level, and James Levine led the orchestra in a reading of the score which I found coherent, detail-rich, and gorgeous.  It was not aggressive; I overheard some muttering that it was, in fact, too beautiful a rendering.  Well, not for me; I thought the subtleties were eloquent of despair.