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Détails sur le produit
Descriptions du produit
"Calixto Bieito's controversial but visually stunning production of Wozzeck is set in a grisly, chaotic, post-industrial maze, giving a contemporary edge to the disturbing and hair-raising intensity of Alban Berg's expressionistic masterpiece. The all too human drama is emphasised, with terrifying beauty, by the stupendous cast of singing actors with the Orchestra and Chorus of the Gran Teatre del Liceu, producing a strong, relentless musical experience under the inspired baton of maestro Sebastian Weigle.
<h3 class=""productDescriptionSource"">Press Reviews
"The quite sensational Chorus and Orchestra, revealed a worldclass theatre company, with a conductor London should book soon. Sebastian Weigle read the score with suavity, so that it seemed as if Wozzeck was more than a little influenced by Mahler; and how thankful I felt for that ingratiating, mellow and fierce sound!" (Musical Opinion)
Franz Hawlata (Wozzeck)
Angela Denoke (Marie)
Reiner Goldberg (Drum Major)
Vivian Tierney (Margret)
Johann Tilli (Doctor)
Hubert Delamboye (Captain)
Vivaldi Chorus; IPSI; Petits Cantors de Catalunya; Orchestra & Chorus of the Gran Teatre del Liceu; Sebastian Weigle
Stage Director: Calixto Bieito
Catalogue Number: OA0985D
Date of Performance: 2006
Running Time: 129 minutes
Sound: 2.0 PCM & 5.0 DTS
Aspect Ratio: 16:9 Anamorphic
Subtitles: EN, FR, DE, ES, IT, CA
Label: Opus Arte"
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Meilleurs commentaires des clients
Citation de la présentation de Juan Carlos Olivares dans le livret accompagnant le DVD.
La mise en espace, de Calixte Bieito nous plonge directement dans cette vision expressionniste .Sans éviter l'outrance, je crois !
Pourquoi ce décor digne de la tuyauterie de Beaubourg sinon pour montrer nos entrailles, dépouillées de toute enveloppe corporelle, à la curiosité du public. Les bleus de travail sont d'ailleurs rouges comme le sang, irriguant ainsi toute cette tuyauterie organique !
Le metteur en scène pousse encore plus loin dans cette approche quasiment chirurgicale : le docteur dépèce sous nos yeux des corps humains, arborant ostensiblement des restes sanguinolents.
Nous décodons assez facilement ces excès qui cherchent à mettre à nue notre propre Psyché.
Mais pour autant cette scénographie marche-t-elle ?
A trop vouloir montrer, à trop souligner le choc recherché perd de son impact.
Bien que Calixte Bieito reconnaisse que : « dans la pièce de Büchner, dans l'opéra de Berg, il est presque impossible d'aller plus loin qu'ils ont eux-mêmes révélé dans leurs oeuvres » il ne peut s'empêcher de rajouter aux ténèbres abyssales de l'opéra une touche d'horreur totalement inutile.
Dans la fosse Sebastien Weigle est convaincant sans atteindre la puissance et la finesse de l'orchestre de Barenboim.Lire la suite ›
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It's the day after, and I'm still reeling from watching Bad Boy Bieito's production of Wozzeck from the Liceu. This release, will - to be sure - anger as many as it will entice, but rarely - if ever - have I seen an opera updated to better effect with the resulting music drama as perfect as a stage work can get.
This production - as typical with this director - has divided audiences probably more than any other work he's done. While many of the ideas I've heard for his productions of Seraglio, Butterfly, etc., have repulsed me and seem like cheap effects for shock value, watching this Wozzeck was like watching something new. Somehow - and with a minimum of conceited directorial shoehorning, Berg's masterpiece fits this new scenario as though there were no other way to perform it. The score's otherworldliness matches the visual components given here in a futuristic, almost sci-fi manner that feels perfectly natural. It's astonishing, really.
Bieito's cast is uniformly strong - top-to-bottom. Franz Hawalta's title character not only embodies the awkwardness of Berg's anti-hero, he embraces it, convincing one he may be the only sane and still human person in this tale. Where Alan Held last year destroyed me by his pitiable Wozzeck who felt like an outsider in an unusually cruel world, Hawalta's Wozzeck is an outsider - someone hanging on to the last vestiges of his humanity in a post-apocalyptic world where there is no hope.
The stage design is simply mindboggling (well, not so much "simply"). The endless labyrinth of pipes and pipe heads, is here, "the belly of the beast." There is steam, liquids, gunk and filth pouring, breathing, filling the stage, yet somehow, there is also beauty.
The Wozzecks seem to live in an enormous corrugated metal container, or box car which descends from the flies, it's harsh, inhuman florescent lights washing out nearly all color and hope. When we witness first the home's descending, it features Wozzeck watering a small green garden and the imagery, the symbolic nurturing of his garden in this hopeless place was so beautiful and meaningful so as to nearly stop my heart. It is an image I will never forget.
Nearly everyone in the cast is in identical orange, work jumpsuits, everyone covered in grime, women with hair clipped short, Wozzeck and Marie's child, a sickly, bald, bruised waif, forced to wear an oxygen mask at all times, the tanks strapped to his weak, failing back. It is a heartbreaking vision, and the child is onstage for much of the opera, his symbolism cannot be missed, yet never once feels forced or false. The Doctor, Drum Major, Captain and Fool are the only ones given different costumes, for obvious and well thought out theatrical reasons.
Ms. Denoke does not go for the sympathy vote with her unique take on Marie. This Marie is a feisty, slightly opportunistic factory worker: a little cold, a little less thoughtful and refined in her thinking and thus a little less pitiable. The bible-reading scene then becomes the embodiment of Marie's great catharsis; a dramatic realization which becomes, here, an epiphany of the horror of her plight - everything, becoming somehow, for the first time, real. Wozzeck, having been brutally beaten, and humiliated by the other men, lies before the house at the beginning of the scene, with Marie wondering where he's been for two days. It completely changes this intent of this scene from every other production I know. When she jumps from the house, she's clutching the oversized bible, and begins tearing it violently to shreds, before seeing Wozzeck's bloody, broken body which has been there the entire time.
While there is nudity, Bieito's use of it here is restrained. For most of the opera, the only nudity is that of corpses which the Doctor dissects, and seems far too interested in both carnally and clinically. One of the most arresting and disturbingly beautiful images occurs during the final interlude as nearly the entire company appear - all nude, and slowly - walking in barely discernable steps, toward the stage apron, as what appear to be disinfectant perhaps showers of purification rain down upon them. The effect and its meaning completely overwhelmed me and thinking of it now . . . well, I'm writing this shaking my head in near disbelief. It is not at all a provocative or sensual image, but the beauty of it - the perfect matching to the music's mood seems haunted by genius.
Everything about this Wozzeck is new, alarming and ultimately powerful. Wozzeck's early interactions with Andres have a naturalness about them convinces these once were good friends. It was a joy to see David Kuebler, a singer I've always liked, giving such a strong presence to an almost thankless role.
Reiner Goldberg - a singer I've always been divided on (and who has got to be getting on in years) is marvelous as the Drum Major in his Elvisy-glitz and gold hair.
Vivian Tierney as Margret, Johann Tilli as the Doctor, and the diminutive Hubert Delamboye as the Captain all offer well thought out and vivid portrayals of these roles.
No Wozzeck, of course, cannot work without the score being as well played and sung as possible and the German maestro, Sebastian Weigle, seems to have spent his life with this score. The delicacy of certain sections are as beautiful and illuminating as any performance or recording I've ever heard. He emphasizes as well as the best, the dance rhythms of Berg's amazingly diverse score. As delicate and chamberlike as some of the score is, the moments of bombast are, here, as devastating as they can ever be. Combined with the images of Bieito's dazzling and harrowing production, the effect is as total - and new - as a Wozzeck can be. The playing and singing from the Liceu forces really is about as good as it gets.
The sound engineering of this product is astonishing, at the right volume level, everything is caught as cleanly and as clearly as one would experience in a great opera house (though, necessarily and, of course, without that live spatiality).
There is an interesting 18 minute documentary offering insights into Wozzeck, including Bieito's take on the story, and Maestro Weigle's pocketbook analysis of the score.
This DVD jumps to the top of my favorites pile and I look forward to being destroyed on many repeated viewings.
Here we have yet another vision of an industrial landscape. This was done 30 years ago in Boulez's famous Ring Cycle. It has been done many times since. It is a well-worn metaphor. With all the characters in orange jumpsuits, working in a factory, we have a vision of uniformity. Not the portrait of a class-ridden society in between-the-wars Europe as symbolized by Wozzeck's army setting. There, the pity and pathos felt for "wir armen Leute", we poor folks, as exemplified by the downtrodden Wozzeck, is integral to both the play and opera. We feel nothing like that in this production. Instead, the industrial pipes are a metaphor of the human body, exposed and dissected. It makes for a striking set, of course. But what does it mean? It appears to be an attack on industrialization, greed, rampant unfeeling Capitalism and environmental destruction. That's all well and good, but what happened to Wozzeck? I don't have the same gut response as I do when I see poor Wozzeck pummeled by his "betters" in its original army setting. Incidentally, the libretto is unchanged and retains all of its allusions to the original military setting, making it even more puzzling to me.
The cast and performances are good, although the bald, toxic "child" (there are many of them at the end, varied by size and age) wearing the air tank is merely creepy, not enlightening. The final murder of Marie seems small and unimportant, somehow, now that everything of human scale (such as a home or a barracks) has been replaced by a massive factory. We lose the shock of its violence and its tragic inevitability, which was caused by Wozzeck's brutalization. In this industrial environment, everyone is brutalized, nothing is shocking. It is a crucial loss, in my view. There is also nudity and additional violence. This also numbs the message found in Alban Berg's opera. Given the rampant violence and nudity found in any Hollywood film, I can't help asking "What's the point?" The final full "cast" nude scene resembles that of the musical Hair. That was 40 years ago. I've placed quotation marks around the word cast because they are unusually attractive men and women who appear to be models hired just for the purpose of appearing nude. Apparently, they neither sing nor act in the opera. You can draw your own conclusions as to what purpose they serve.
The Liceu Orchestra plays the score beautifully, it is a difficult score to play. But if that is the criterion for purchasing this DVD, there are many splendid CD recordings available. Karl Bohm, Claudio Abbado and Dimitri Mitropoulos have all made classic recordings. The running time of this DVD (with extras) is 129 minutes. It is shot in 16/9 anamorphic widescreen and looks splendid. Sound is brilliant and clear in PCM stereo and even better in DTS 5.0. There are a few extras.
Although beautifully played and well sung, this production misses the point of Berg's tragic masterpiece. I wish it were more of Wozzeck and less of the director.
Unfortunately, I made the mistake of having another look at the Rolf Liebermann film of Wozzeck before this arrived and that certainly coloured my impression of the Bieito production -- unfavourably.
Bieito's production is limited to a stage; but he handles the limitations very well to cope with this episodic opera. He uses lighted segments of a darkened stage, several levels, and a lowered container-home for Wozzeck and Marie (with a small patch of grass as a contrast to everything else). The set is "a maze of industrial tubes, recalling innards exposed in a sliced-open abdomen, a symbol of the environment of contamination -- both physical and mental in which [Wozzeck] is struggling to survive." (--from the notes) The action is taken out of the military and moved into the world of industry with interchangeable extras in orange jump suits (not all that original or effective to warrant moving away from the composer's concept). And pretty much everyone is deranged from the start. Unfortunately from my point of view, that includes Wozzeck himself. So the whole world is mad and where can one go from there? It is almost as though Bieito is following the old Hollywood dictum of "start with an explosion and build from there". Maybe, as Mr. Padillo writes in his review, the naked cast advancing towards the audience can be seen as a purification of sorts, but in the final scene the child of Wozzeck and Marie is apparently stoned and left alone as the curtain falls. "Hop hop."
There are, however two great positives. First is the orchestral music. Sebastian Weigl has done a superb job controlling the orchestra through all the different moods and modes. The second is, perhaps a mixed blessing. Angela Denoke is a wonder in her spirited acting and singing. She is seemingly the only sane person on stage making do as best she can, although her mostly optimistic spirit is at odds with everything else. Maybe that is what Bieito wanted, because it makes her killing by Wozzeck so horrible. So, perhaps 3 stars.
Now I realise that it is unfair to do a critique of a production and compare it to another, but this is a DVD and others are available. I am sure that had I seen this in the theatre I would have come out raving with enthusiasm. It is a powerful production. But I did watch the Liebermann film just before and cannot help myself.
Being a film, there is a great liberation from set constraints. The filming was done in an old castle and buildings in Southern Germany. It is stark and real. Each of the scenes takes place in a real setting and there is movement from one to the other giving momentum and continuity to what is going on. I think that this is important and emphasises what to me is the weakness of Bieito's over-the-top set. His has nothing for contrast (other than perhaps Ms. Denoke). Whereas here, it looks as though things should be normal -- and it is certainly not. No wonder Wozzeck starts off puzzled and is gradually driven mad. It is the steady progression the assaults on him and his deterioration which makes the horror of the end all the more moving. And then when one adds in the misty, lonely, but peaceful setting for Marie's murder, and Wozzeck's slow walk to his death into the lake, it is almost too much. Needless to say the photography is excellent. Rolf Liebermann wrote in his autobiography that this was his favourite filmed opera. Little wonder.
To conclude, therefore: If you only will buy one Wozzeck, get the Liebermann version. However they are so different that I would recommend both, if for no other reason to see how much the Bieito interpretation fails in contrast.
Wozzeck is a common solider, shaving his Captain. The Captain chastises him for having fathered an illegitimate child with one Marie. Wozzeck defends his lack of virtue, explaining that he is too destitute to have the blessings of the Church, but Wozzeck reminds his superior of Christ's words "suffer not the little children." The Captain heaps even more abuse and scorn on Wozzeck, and the soldier becomes indignant.
Wozzeck and his friend Andres are cutting sticks in a field as the sun sets. Wozzeck tells Andres of horrifying visions and Andres unsuccessfully tries to offer Wozzeck reassurance. Wozzeck visits The Doctor. The Doctor scolds him for abandoning his diet. The Doctor, who is obviously insane, is delighted, however, when Wozzeck tells him of the violent visions he has been having. Meanwhile, Marie notices the regiment's Drum Major, and the two begin an affair. The Drum Major gives Marie earrings as he parts. Feeling remorse for her infidelity, Marie sings her child a lullaby.
Wozzeck returns him and tells Marie of his hallucinations. Marie is disturbed and the tension between the two of them escalates when Wozzeck notices Marie's new earrings and begins to question her about them. Wozzeck's jealousy engulfs him, and he becomes wild with visions of blood.
The Captain and the Doctor are are engaged in conversation on the street. The Doctor is giving the Captain a terminal diagnosis when they encounter Wozzeck. The Doctor and the Captain mock Wozzeck, telling him of the affair between Marie and the Drum Major. Wozzeck flees to a tavern where he discovers Marie and the Drum Major dancing. The tavern idiot confronts Wozzeck, telling him `I smell blood," which, naturally, sends Wozzeck into a frenzy. In the barracks, Wozzeck gets into a fight with the Drum Major, who knocks Wozzeck down.
Later, Marie reads of the gospel account of the woman taken in adultery. Overwhelmed with feelings of guilt, Marie joins Wozzeck for a walk in the forest. A blood red moon rises as they are walking, and Wozzeck slashes Marie's throat. Wozzeck throws the knife away, and heads back to the tavern to escape his blood dreams.
In the tavern, patrons notice Wozzeck's bloodied hands and question him. In a panic, Wozzeck returns to the forest to search for the knife. When he finds it he throws it into a pond, then discovers Marie's body. Wozzeck's mental state deteriorates. He becomes convinced that he did not throw the knife far enough, and fears that it will turn up on the shore. Desperate to retrieve the waspon and wash off the incriminating blood, Wozzeck runs towards the pond. The Captain and the Doctor pass by and hear Wozzeck's anguished cries, but they are unconcerned. Wozzeck jumps into the pond, but unable to swim, he drowns.
The next morning Wozzeck and Marie's child plays on a hobby horse. The neighborhood children mock him for his parentage when news arrives that Marie's body has been found. The children rush off to see the dead body, and Marie's child eventually joins them.
"La Boheme" this isn't.
Purists, who really should stay the hell away from anything written by the Second Viennese School, saw Bieito's staging and immediately put the production's necrophilia, Elton John impersonator, and excessive nudity on their epic lists of complaints. Bieito was characterized as the quintessential Regie nightmare. The purist hacks looked at their libretto/bible from a two inch distance and cried foul, failing to see past their paint-by-numbers preferences. Bieito was predictably (and oh so boringly) accused of pulling juvenile antics. To approach Berg's nihilistic work as if it were a holy, chiseled museum piece is nothing short of hypocrisy.
Bieito gets to the visceral spirit of Berg's "Wozzeck" more than anyone before him and, I suspect, this production will be the reference version for many years to come. Bieito sets his Wozzeck in a chemical plant, a post-industrial, apocalyptic wasteland. Marie and Wozzeck abide in the plant's lower level, wear tattered overalls, and are stained with grime. Pipes exude deadening pollution, and Marie's home is an industrial container. Her child frequently resorts to the fetal position to shield himself from his dreary existence. He is covered in sores, wears a death-red jumpsuit and breathes through an oxygen mask. Marie cleans herself off and slinks into a evening dress, ascending to the upper level for her affair with the upper class, the superficially exotic Drum Major (the Elton impersonator). Marie, Wozzeck, and their child are anonymous to an apathetic world. The Jeffrey Dahmer-like Doctor finds an appealing cadaver among the pile and simulates sexual push-ups with the corpse. The sight sends the already fragile Wozzeck over the edge. The harrowing finale has Wozzeck climbing into a drainage pipe as the nude, zombie-like chorus encircles Marie's corpse. The children throw industrial waste at Marie's orphan.
Bavarian Franz Hawlata may possibly be the best Wozzeck on record. Vocally, and in performance, his is a corpulent, rabid antihero. Likewise, Angela Denoke's Marie convincingly projects desperation and pathos. Johann Tilli and Hubert Delamboye capture the banality of evil all too convincingly. Amazingly, conductor Sebastian Weigle cuts through the staged refuse and delivers music of power and, yes, beauty.
The anticipated backlash spewed by hopelessly dull, bourgeoisie critics came fast and furious. Would I want to watch this again anytime soon? It nearly took me a year to revisit this film, and it will probably be another year before I brave it a third time. Like all great art, this was not easy. And this is great art which I recommend unreservedly to everyone but the operatic televangelists.
*my review originally appeared at 366 weird movies.