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Berg: Wozzeck - Act III (Abbado; Grundheber, Behrens, et al.) [English Subtitles]
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- Опубліковано 22 бер 2014
- Berg: Wozzeck - Act III
Wozzeck: Franz Grundheber
Marie: Hildegard Behrens
Der Tambourmajor: Walter Raffeiner
Andres: Philip Langridge
Der Hauptmann: Heinz Zednik
Der Doktor: Aage Haugland
Marguerete: Anna Gonda
Chorus and Orchestra of the Vienna State Opera
Conducted by Claudio Abbado
Sung in German
Presented with English subtitles
Stage Director: Adolf Dresen
Chorus Master: Helmuth Froschauer
Costume Designer: Helmuth Kappelmüller
Video Director: Briane Large
Recorded in 1987 at the Vienna State Opera
![Berg: Wozzeck - Act I (Abaddo; Grundheber, Behrens, et al.) [English Subtitles]](http://i.ytimg.com/vi/OdinmlIdnYw/mqdefault.jpg)
![Berg: Wozzeck - Act I (Abaddo; Grundheber, Behrens, et al.) [English Subtitles]](/img/tr.png)
I think Franz Grundheber's acting in this production is the most believable performance I've ever seen in opera. Bravissimo.
21:00 The last interlude is heart-wrenching. Abbado conducts it brilliantly.
Surprisingly, I love it. I don't know why but I get it. Amazing cast. Wozzeck was incredible. This is an extremely difficult to learn.
"Wozzeck is an outstanding example of expressionistic opera, as well as an impressive historical document. Wozzeck is a symbol of ('we poor people'), a hapless victim of his environment, despised, betrayed in love, driven finally to murder and suicide.
The music of Act III, scene III, (13:48) a wild polka, is an invention on a rhythm. In the previous scene Wozzeck has murdered his mistress Marie, the mother of his child, because she betrayed him with a fellow soldier. In the present scene Wozzeck sits in a tavern singing and drinking. He asks Margret the barmaid to dance with him; after they dance she sits on his lap and sings a song, in the midst of which she notices blood on his hand. He becomes agitated and obsessed with his blood. The music of the scene is constructed like a medieval isorhythmic motet. A set of eight durations interrupted in the middle by a rest is continually reiterated, sometimes in diminution, sometimes in augmentation. It pervades the entire texture, even the voices. At this point at which Margret discovers the blood, the chorus joins them in a canon on the rhythm, which then is continued by the instruments. Wozzeck's obsession with his guilt reaches an unbearable intensity.
In the vocal parts, Berg flexibly alternates ordinary speech and Sprechgesang with conventional singing. The many passages of stylized realism (snoring chorus, gurgling of water, a tavern orchestra with an out-of-tune piano caricaturing a waltz motive from Strauss's Rosenkavalier) are skilfully employed for expressionistic purposes. The grim, ironical, symbolical action, the wealth of musical invention, the ever-varied, ingenious, and appropriate orchestration, the formal clarity and concentration, the pictorial quality and dramatic force of the music cumulates in an effect of unforgettable poignancy." A History of Western Music, Donald J. Grout, Claude V. Palisca, Norton, Fourth Edition, P. 859-60.
I saw Wozzeck at the Met many years ago with Christian Boesch and Hildegard Behrens, with James Levine conducting. It’s quite a nightmare, but very brilliant.
Amazing piece of art this opera and love this cast....
Opera eccezionale e grande direzione di Abbado!
That was an ammmaaaazing experience... The Soprano is reaaallly good actriz, and the role cast too.
La migliore versione di sempre del manifesto e capolavoro dell'opera espressionista.
Thank you for making this wonderful production available to me ! Thank you !
Thank you for all the 3 acts. amazing. Baruch Bar Shalev, Israel.
Thank you for sharing this!
Scream Pionero
Classic, Opera, Avant Garde Music, Experimental Music, Blues, Soul, Gospel, Rock, Metal, Punk.
Thank you so much for posting this important opera. For years I was too scared to watch it; I am so glad I finally did, after reading about the Second Viennese School. More powerful than anything I’ve seen until now.
And another great posting by Opera Nerd. Thank you so much!
This is great! Thanks so much for posting!!!
my stomach hurts...I'm so unconfortable...and I LOVED IT!
Thank you Opera Nerd for this wonderful posting.
I have the recording in my collection - so it is very nice to have seen the visuals too! Thank you for uploading!
Thank you so much for this opera, I wanted to see it from a long time ago, thank you for sharing!! :)
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 says that if he can't have Marie, no one else can, and 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, agitated and obsessed with the 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))
Scene 5 (Invention on an Eighth-Note moto perpetuo, quasi toccata)
The 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 son, who after an oblivious moment, follows after the others.
i thought this version was lost...thank you for postin it...
Wonderful opera. Thanks for posting it.
Muchas gracias por subir esta ópera
Thank you much OperaNerd
The third act is saturated with tonality, which is why it has such a powerful effect.
Act 3 Scene 3 [13:47]
Out-of-tune piano playing a polka in the tavern with Wozzeck’s tetrachord leitmotif [CEGG#]
Tonal styles in atonal idiom
Expressionist representation of tavern music
Wozzeck’s mental state
Developing variation of the rhythmic theme
13:48 선술집 피아노선율
Act 3 Scene 2 [12:28]
Madness and terror
Ended with the note B
3:25-13:00 & 21:00-26:00
I only wish you posted this in the three separate acts. Instead you concluded the 2nd Act too soon and inserted the last three minutes and fourteen seconds to start Act 3. Otherwise, this is a very good version of a rather difficult opera to perform. Would like to see a performance with Fischer-Dieskau and Lear from the early DG recording if they ever did it live.
BERG FUE ALUMNO DE SCHOMBER QUE DEJO LOS MODOS TONALES Y CREO LA MUSICA DODECAFONICA.
20:30 Stands right next to dead body and doesn't see it.
It's opera, not cinema
Fuck yeah
12:18
베르크,보체그,3막 13:47
ENESTE ACTO MERECE DESTACARSE LO SIGUIENTE:Mariev el Esposo de Wozzeck lee la biblia y una orquesta con variaciones y una fuga---El baile en una taberna ,sobre un ritmo frenético que ilustra los remordimientos de él---la escena final ,en que el niño juega sin saber que ahora estará solo en este mundo tan incoherente y malo.
This opera is philosophical and dodecaphonic and one of most important works in contemporary music as well as his opera "Lulu" and two operas of Dmitri Shostakovich.
not twelve-tone as far as I'm aware.
It's not dodecaphonic, just atonal
Composed before the 12-tone system was devised.
Scene 2 8:35
An extremely mathematical work. Just like Lulu the part of Marie is extremely difficult to sing
Rotisimo
12:30 - 13:00 the murder scene was too much cringe someone pickup on r/sadcringe
oh yeah btw this is boo boo
Who *are* you? The Nostalgia Critic?