Berg: Wozzeck (HQ) - 1970 film version [English Subtitles]
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- Опубліковано 3 тра 2014
- Music and libretto by Alban Berg, after the play by Georg Büchner
Wozzeck: Toni Blankenheim
Marie: Sena Jurinac
Drum Major: Richard Cassilly
Andres: Peter Haage
Captain: Gerhard Unger
Doctor: Hans Sotin
Workman I: Kurt Moll
Workman II: Franz Grundheber
Idiot: Kurt Marschner
Margret: Elisabeth Steiner
Marie's son: Martina Schumacher
The Hamburg Philharmonic State Orchestra
The Chorus of the Hamburg State Opera
Conducted by Bruno Maderna
Directed for television by Joachim Hess
Set design: Herbert Kirchhoff
Costumes: Helmut Jürgens
Recorded 1970,
Hamburg State Opera
Video: H.264/AVC encoded, Standard Definition (480p)
Audio: 2.0 LPCM mono (lossless)
![Berg: Wozzeck - Act I (Abaddo; Grundheber, Behrens, et al.) [English Subtitles]](http://i.ytimg.com/vi/OdinmlIdnYw/mqdefault.jpg)
Wozzack: "Time to deal with this wife."
*stab*
"Time to deal with this knife."
*chuck*
"Time to deal with this life."
*drowns*
This is amazing
The last scene with the children hits me the most.
The fear and the pain and the misery that life brings is transformed into the most heart rending music that any human being could imagine. Thank you Maestro Alban Berg!
In a way Wozzeck carries on where Strauss left off after Salome and Elektra. Strauss "stepped back from the brink" with Rosenkavalier and handed the baton he'd created to Berg. To me there are clear similarities. And BTW, I love both Strauss and Berg!
I have been listening to this opera since at least 1988 and not only does it get better every time, but even after 32 years of continued listening I am still discovering new re-appearances of the motives buried in the orchestration!
Very powerful performances. Berg is the master of atonal opera. I love this and Lulu. Together, they make powerful impacts.
Undisputably one of the operatic masterpieces of the 20th century. Berg had a deep understanding for Büchners play and the tragedy that unfolds in the first moment grips me so firm that I cannot escape it. The structure Berg chose is phenomenal, who would come up with the idea of creating an interlude at the end of the story, followed by such devastating 2 minutes of truth and mental emptiness?
what an incredible work. Not only is the score beautifully composed, the cinematography and performance in general is exceptional. Studying this piece right now in a class and this was the perfect version to watch.
haunting orchestration, dread, beautiful music
i feel like compelling depiction of horror is hard to find in opera, but wozzeck accomplishes this for me
I would argue Britten's Turn of the Screw is another good example.
That is a great description I always use, too. Berg shows us how deep we can get and how beautiful music can be even when it describes horror in all possible musical ways.
Try Penderecki's Die Teufel von Loudun, Zimmermann's Die Soldaten and Reimann's Lear. These operas take the horror of Wozzeck (which is an opera l love) like ten steps further.
Pobre Wozzeck, maldita sociedad, y esa escena final con el niño que queda a la merced del mundo... la música serialista es increíble, de toda la música es la que mejor capturo la verdadera esencia del espíritu humano que va siempre a un ritmo angustioso y decadente... Pienso que la música anterior como la romántica o la barroca no hace sino reflejar lo que anhelamos o lo que vivimos a nivel individual, el serialismo capta con exactitud todas las locuras humanas.
Not serial, atonal.
The genius of Berg’s music and a stunning production
Maderna at his best in Wozzeck. Great performance of this masterpiece in a film version.
Bin begeistert, braaaaaaavooooò! Danke an alle, die fūr diese Produktion grade standen. Daaankeeee!
Now that has to be one of the best video adaptation of an opera!
Simply wonderful visuals :)
orchestra gives voice at what the audience should feel in front at such a drama.
Brilliant! I've only heard the music, never seen the opera performed. many thanks!
I have seen many versions of this great opera . But this opera film version is something really very different . It is a real masterpiece ... !
would love to see a modern day version of this
The epitome of operatic creation... loved learning about sprechgesang in this!
I once watched the entirety of the Exorcist, and was barely scared afterwards.
I watched 45 minutes of this opera, and had a hard time sleeping this night.
I normally don't like opera, but I do really like WWI era classical music (and visual art and literature), so this was quite enjoyable.
Ah, WWI... Where the cracks in the world of art began to show, right before all hell broke loose.
Still cracked today MAY 2023 .
Wonderful --the best and most exciting Opera of the 20th century !
thank you very much for this video.
Kurt Moll and Franz Grundheber are total scene stealers. WOW!
What an absolute gem this is! Thank you for uploading this excellent version of Wozzeck!
A riveting performance of a truly great work. How petty beside this are the majority of 19c romantic operas.
This is coming to Covent Garden in May 2023 where I'm sure it will go down well with the audience. I'm not sure it's us there are so many rival pieces bidding for our attention. I'm quite happy with the concept and it is very well done maybe in a year or two I'll come around.
Absolute masterpiece!
to moje ulubione nagranie ze wszystkich jakie mogłem wysłuchać, a było tego sporo, Bruno Maderna rozumie Berga, tak jak Michel Gielen Schoenberga. Bardzo lubię słuchać Waltera Berry jako Wozzecka...
Wozzeck: Toni Blankenheim, baritone
Marie: Sena Jurinac, soprano
Drum Major: Richard Cassilly, tenor
Andres: Peter Haage, tenor
Captain: Gerhard Unger, tenor
Doctor: Hans Sotin, bass
Workman I: Kurt Moll, bass
Workman II: Franz Grundheber, baritone
Idiot: Kurt Marschner, tenor
Margret: Elisabeth Steiner, contralto
Marie's son: Martina Schumacher, treble
Act 1
Scene 1 (Suite)
Wozzeck is shaving the Captain who lectures him on the qualities of a "decent man" and taunts him for living an immoral life. Wozzeck slavishly replies, "Jawohl, Herr Hauptmann" ("Yes sir, Captain") repeatedly to the Captain's abuse. However, when the Captain scorns Wozzeck for having a child "without the blessing of the Church", Wozzeck protests that it is difficult to be virtuous when he is poor, but entreats the Captain to remember the lesson from the gospel, "Lasset die Kleinen zu mir kommen!" ("Suffer the little children to come unto me," Mark 10:14). The Captain is confounded by Wozzeck's theological knowledge and anxiously squeaks, "What do you mean? And what sort of curious answer is that? You make me quite confused!" After Wozzeck continues the discussion by positing that it would be easy to be moral, if only he were wealthy; and that, if the poor ever "got to Heaven, we'd all have to manufacture thunder!" The flustered Captain, unable to comprehend Wozzeck, finally concedes that he is "a decent man, only you think too much!" The Captain concludes the discussion, saying it has "quite fatigued" him and again chides Wozzeck to walk slowly before finally exiting.
Scene 2 (Rhapsody and Hunting Song)
Wozzeck and Andres are cutting sticks as the sun is setting. Wozzeck has frightening visions and Andres tries unsuccessfully to calm him.
Scene 3 (March and Lullaby)
A military parade passes by outside Marie's room. Margret taunts Marie for flirting with the soldiers. Marie shuts the window and proceeds to sing a lullaby to her son. Wozzeck then comes by and tells Marie of the terrible visions he has had, promptly leaving without seeing their son, much to Marie's dismay. She laments about being poor.
Scene 4 (Passacaglia)
The Doctor scolds Wozzeck for not following his instructions regarding diet and behavior. However, when the Doctor hears of Wozzeck's mental aberrations, he is delighted and congratulates himself on the success of his experiment.
Scene 5 (Rondo)
Marie admires the Drum Major outside her room. He makes advances to her, which she first rejects but then accepts after a short struggle.
Act 2
Scene 1 (Sonata-Allegro)
Marie is telling her child to go to sleep while admiring earrings which the Drum Major gave her. She is startled when Wozzeck arrives and when he asks where she got the earrings, she says she found them. Though not convinced, Wozzeck gives her some money and leaves. Marie chastises herself for her behavior.
Scene 2 (Fantasia and Fugue on 3 Themes)
The Doctor rushes by the Captain in the street, who urges him to slow down. The Doctor then proceeds to scare the Captain by speculating what afflictions may strike him. When Wozzeck comes by, they insinuate that Marie is being unfaithful to him.
Scene 3 (Largo)
Wozzeck confronts Marie, who does not deny his suspicions. Enraged, Wozzeck is about to hit her, when she stops him, saying even her father never dared lay a hand on her. Her statement "better a knife in my belly than your hands on me" plants in Wozzeck's mind the idea for his subsequent revenge.
Scene 4 (Scherzo)
Among a crowd, Wozzeck sees Marie dancing with the Drum Major. After a brief hunter's chorus, Andres asks Wozzeck why he is sitting by himself. An Apprentice delivers a drunken sermon, then an Idiot approaches Wozzeck and cries out that the scene is "Lustig, lustig...aber es riecht ...Ich riech, ich riech Blut!" ("joyful, joyful, but it reeks...I smell, I smell blood").
Scene 5 (Rondo)
In the barracks at night, Wozzeck, unable to sleep, is keeping Andres awake. The Drum Major comes in, intoxicated, and rouses Wozzeck out of bed to fight with him.
Act 3
Scene 1 (Invention on a Theme)
In her room at night, Marie reads to herself from the Bible. She cries out that she wants forgiveness.
Scene 2 (Invention on a Single Note (B))
Wozzeck and Marie are walking in the woods by a pond. Marie is anxious to leave, but Wozzeck restrains her. As a blood-red moon rises, Wozzeck becomes determined that if he can't have Marie, no one else can, and he stabs her.
Scene 3 (Invention on a Rhythm)
People are dancing in a tavern. Wozzeck enters, and upon seeing Margret, dances with her and pulls her onto his lap. He insults her, and then asks her to sing him a song. She sings, but then notices blood on his hand and elbow; everyone begins shouting at him, and Wozzeck, now agitated and obsessed with his blood, rushes out of the tavern.
Scene 4 (Invention on a Hexachord)
Having returned to the murder scene, Wozzeck becomes obsessed with the thought that the knife he killed Marie with will incriminate him, and throws it into the pond. When the blood-red moon appears again, Wozzeck, fearing that he has not thrown the knife far enough from shore and also wanting to wash away the blood staining his clothing and hands, wades into the pond and drowns. The Captain and the Doctor, passing by, hear Wozzeck moaning and rush off in fright.
Interlude (Invention on a Key (D minor))
This interlude leads to the finale.
Scene 5 (Invention on an Eighth-Note moto perpetuo, quasi toccata)
Next morning, children are playing in the sunshine. The news spreads that Marie's body has been found, and they all run off to see, except for Marie's little boy, who after an oblivious moment, follows after the others.
Even after over forty years of acquaintance, I never tire of this production. On of the best Wozzecks ever!! Maderna conducts the work with a complete grasp of its structure and, although all the acting is far about the usual operatic norm, Unger's performance as the Captain is dramatic perfection. He never resorts to reducing the character to an empty caricature...like Graham Clark in the MET video and most others.....even Gerhard Stolze can't resist the temptation in his highly thought of recording. The understated performance of Albert Weikenmaier on the Boulez recording is preferable. There's a wonderful Italian sung version with Hugues Cuneod doing an equally great job....as does Horst Hiestermann on Kegel's admirable recording.
mich sturge "
Good idea to do a cinematic version. [ the music is brilliant and I can not add anything except compliments ]
The ending 🥺
Thank you!!
The interlude, so powerful.
Absolutely Ingeniously!
just when you hear that is atonal you stop hearing it actually, otherwise is an indisputable masterpiece of expressionism
@@undxtaleproductions6009 I don't think that's what he meant, Ray. In clearer terms, I would say he stopped *hearing IT.* LOL. Get it? Tell me you get it.
Belle interprétation puissante !
Such a masterpiece.
Thank you!
the lebrettist was only 21 when he wrote the work, died shortly afterwards, TB.
@@thomastereszkiewicz2241 I didn't know Karl Georg Büchner had died so young. The real model (Johann Christian Woyzeck) of protagonist in this Theater Piece had schizophrenia disease and actually killed his lover.
Phenomenal.
Just love it.
1:16 네 대위님, 군인동기
2:43 신사는 천천히
5:50 가난동기, 자신의 처지 항변, 베이스 군인동기
2장
8:42
9:30 3개의 자연 화음
14:21 자연화음 -불 화음 변형
13:11 지진화음
3장
16:40
4장
25:50
30:39 2장에서 본 환상을 얘기
33:23 완두콩, 양고기, 소변, 강박을 키워라
33:36 이론동기
5장
34:30
Can u gave another next scene
If someone asks me why I still use UA-cam, despite all the infantilizing garbage and propagandizing outrage content, I will point out that there are magnifcient historic masterpieces such as this one and one can FIND them! THANK YOU!!!!
addendum: not only is it amazing that this piece is almost 100 years old but that this MADE FOR TV production in the year of my birth is so damn good! TV had potential once, but alas ....
Totally agree with you. You win a follower !
@@yennefer2718 thank you! I try to add good stuff to the ether :)
The 3th cene has a beautiful melody! Even people that don't like atonal peaces could enjoy that... Sena Jurinac did a great job given that cene a more settle interpretation (Vocally speacking), you can enjoy the every pianissimo.
Twelve tone, not atonal
@@jambones100 You're wrong, it is atonal. Twelve tone was invented after this opera was composed.
sooooOOO demented... love it
1 сцена 5:52 Ария Воццека «Мы бедный люд»
09:20 Сцена 2 Франц Воццек и Андреас (песенка Андреаса и монолог Воццека о голове)
16:40 Сцена 3 Сцена Мари с сыном, с соседкой Маргарет и военным оркестром, 19:05 Колыбельная Мари
26:05 Сцена 4 Сцена Воццека и доктора. Пассакалия
35:10 Сцена 5. Мари с Тамбурмажором
40:27 Сцена 6. Мари с сережками, 41:44 диалог Мари и Франца
49:33 Сцена 7 Фуга на три темы Воццека, Доктора и Капитана
55:10 Сцена 8. Мари и Воццек, 58:06 л/м ножа (Лучше меня ножом ты в бок пырни)
59:45 Сцена 9. Сад при трактире. 1:04:53 хор солдат и парней «Охотник молодой»
1:08:00 Сцена 10 в казарме (Воццек, Андреас, Тамбурмажор и солдаты)
1:17:10 Сцена 11. Молитва Мари
1:22:45. Сцена 12 Мари и Воццек. Лесная дорога у пруда
1:27:30 Антракт. Сцена 13. Воццек в кабаке
1:31:30 Сцена 14 Воццека у пруда
1:40:15 Сцена 15. Детвора
thanks, this needs to be added at the top!
Sound of a century.
This is generally so good, it's disappointing that some things go unrealized, especially the time of day in the 2nd and 3rd scenes. Clearly Wozzeck sees the red setting sun and hallucinates the world is on fire. And Andres specifically says the sun has set and it's getting dark. But, not here. Later, Marie remarks that it's dark both outside and in her little room, but again... it isn't. When so much else seems meticulously coordinated with the score and the text, such things stand out even more. Also, wish there were simply a fade to a moment of black after the 5th scene, to observe visually the break between act one and the beginning of act two. And still more grievously, in the final act, where Marie is murdered, she and Wozzeck remark on how dark it is, how red the moon is, etc. But, it's clearly not. And later as Wozzeck searches for the knife the redness of the moon is again ignored, and he wanders into the pond clearly in bright daylight. It also makes the remarks later by the Captain rather pointless and contradictory. And meditating on the pond, in clear daylight, during the great d-minor final interlude... well, it just makes little sense. Still, greatly better than most other available versions, and certainly better than the Met's Kentridge production which violates most everything in both score and libretto.
I am not a big opera fan but this looks like a good production.
Act 3, Scene 4 1:31:28
Act 3, Interlude 1:37:30
Act 3, Scene 5 1:40:15
1 действие
19:05 колыбельная Мари 3 картина
2 действие
1:00:43 сцена в трактире Душа это водка 3 картина
1:02:50 вальс и танец тамбур мажора и Мари 4 картина
3 действие
1:22:43 дорога у пруда,
1:25:50 убийство Мари 2 картина
1:28:04 сцена в кабаке полька и расстроенное пианино
43:40 Wozzeck gently whispered to his kid and gave Marie all of his money.....I just feel so sad...
1:17:37
I love this leitmotif
My music theory professor showed us this film in class today. Now “Hopp Hopp” is our new running gag for the semester.😂
I guess being emotionally dissociated with one’s mother death should be a running gag. Hopp Hopp along with that BS!
1:11:45
1:17:07 3. Akt
1:21:55
1:27:27
1:28:04
1:30:00 Blut
1:31:28 Szene IV
1:37:30 Zwischenspiel Szene V
1:40:15 Szene V
cool
¡Voy a hacer mi adaptación de Woyzeck!
17:35 Never knew that someone could make a grimdark Disney scene, but I'm not complaining.
Marie has such magnificent brea... th control
Start at 20.00
Need me a bih like Marie no DOUBT
nvm. she is meant to be free, like all of us.
what a high quality version of Wozzeck!!! i wonder whether i can share it to the Chinese website
YouKu?
51:16 this scene is so frightening, the doctor scares the hell out of me. Poor Wozzeck.
ich bin nicht deutsche und deutsch ist nicht mein muttersprach aber ich hatte viel spaß mit diese oper es ist mein erste deutsche oper und nicht die letzten.
My 1,000 time today. And I will die soon
I dont know what scene is best following next and next each scene?
On se rend compte å présent que cette musique, précisément parce qu'elle est å la fois atonale, mais dans une grande liberté, par rapport aux contraintes de techniques rigides comme dans le serialisme ou autre...garde un pouvoir expressif extraordinaire et passe l'épreuve du temps avec toujours autant de force.
The power and accessibility of Berg's score for Wozzeck are largely due to the fact that the music is not, strictly speaking, atonal. Examples abound on every page of the score, but two of the most notable are 1) the interlude just before the final scene, which is in an all but unambiguous d minor; and 2) Berg's prominent use of an open fifth (a big no-no in atonal music) in Marie's motif.
This Opera is a musical mental breakdown.
Is this a film version of the entire opera, or has it been abridged?
it's the entire opera
Invencija par tonalitāti re no op.Voceks III c. ♫
[melodija sākas apakšējā balsī!] no 1:36:43
David from Die Meistersinger.
Why does Sena Jurinac *sing* the sprechgesang in the reading scene? It spoils what should have been a poignant moment.
Act 3, Scene 3 - 1:28:03
Chuck Norris’s ear training 101 class.
1:28:02 "Tanz alle!"
Does anyone know where this was filmed?
The name of the town was Kronach, according to Sena Jurinac’s biography.
:-D
1:21:00 omfg lmfao
the opera equivalent to the joker movie lol
Ehh, Wozzeck is more intense to me. Like the movie equivalent is Eraserhead or something equally uncomfortable. The Joker is too political and "by the books".
@@kaznrg I was joking when i said joker, it's more of a contemporary film most ppl know that resembles wozzeck than the ideal film equivalent
@@NateSassoonMusic I guess the benefit of hindsight is that it's easy to see the interesting movies after they've been reviewed instead of wading through modern advertisement. I'd still say that Joker is a poor fit. Maybe something more like Perfect Blue, or Requiem for a dream, maybe something like that. David Lynch kind of lost his touch.
No, I know! That movie with the girl who loses her head in a car accident. Hereditary. That one is contemporary and has a similar maddening feel, though still not to the right level. Can't beat old psychedelic horror for that atonal music vibe.
@@kaznrg ah yes i saw hereditary as well, very disturbing and tense film
Were you listing disturbing movies ? Perfect Blue sure is and a fine film indeed. RFAD was just like a long anti-drugs goverment commercial, Joker was a 14 year old freaks pseudo-philosophical crap, nothing disturbing honestly.. Hereditary I haven't watched, would you recommend ?
1:11:10 für Xylo
5:34
3:33
The composer Rolf Liebermann is mentioned as involved in this production. Do you know in what capacity?
Rolf Liebermann war von 1959 bis 1972 Intendant der Hamnurgischen Staatsoper und hat damals zusammen mit Gyula Trebitsch dreizehn Opernfilme produziert; neben dem "Wozzeck', den er in der Rückschau als den gelungensten dieser Filme einschätzte, u.a. "Die Meistersinger von Nürnberg", "Fidelio", "Figaros Hochzeit", "Die Zauberflöte", "Orpheus in der Unterwelt" ...
Tippfehler: Hamburgischen
@@dr.u.8784 thanks.
5:50 - «мы, бедный люд»
18:20 - колыбельная Мари
59:37 - сцена в трактире
1:28:04 - сцена в трактире 2
1:31:43 - сцена гибели Воццека
1:36:52 - интерлюдия
1:22:45 - сцена убийства Мари
Thx
1:02:00
#mimandalaprof
1:14:48 nice
How much to revive you guys???
so depressing
9:32 some folks call it a sling blade.
16:40 1д 3к кім Марі
19:12 1д 3к колискова Марі
26:10 1д 4к Воцек і доктор
59:37 2д 4к трактир
1:28:03 3д 3к сц в кабаку
Poor wozzeck.
쇤베르크의 제자, 베르크, 최초의 무조성 오페라
28:20 But you pissed again.
I am trying to learn to compose like Berg rather than normal Post-Tonal music.
? What's the "normal" post-tonal music? Also, I don't think there's much truly atonal music, I agree with what Samuel Andreyev has to say about that:
ua-cam.com/video/7_CGHbd_rhg/v-deo.html
A prelude to The Great War: You can literally hear Europe coming apart
(Selbstmord)
Lmao😂
クリュイタンス指揮のマイスタージンガー（バイロイト）で、コートナーを歌ったブランケンハイムが、ヴォツェックを歌っていますねぇ。
It's ok. Good singing. But listen to Boulez if you really want this full force. The scene at the pond should have had a blood red moon and a bloody pond. No puppets at the end thankyou.
Wozz's up with this 'eck?
Charles Buxton: Why are you here?
@@corvusdelicti8853 Delightful Bird, do you want the answer from the Baltimore Catechism?
Blankenheim is the best Wozzeck after Tito Gobbi.
Unsinnige Einschätzung!