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Wozzeck / Lulu

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Page Artiste Fritz Wunderlich


Détails sur le produit

  • Interprète: Alban Berg, Karl Böhm
  • Orchestre: Fritz Wunderlich
  • Chef d'orchestre: Evelyn Lear, Karl Böhm
  • Compositeur: Alban Berg
  • CD (2 juin 1992)
  • Nombre de disques: 3
  • Label: Deutsche Grammophon
  • ASIN : B00000E53D
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 155.097 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

BOHM KARL / DEUTSCHEN OPER BER

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On attend Karl Böhm dans la musique des XVIIIe et XIXe (j'ai écouté et ré-écouté ses enregistrements des symphonies de Mozart avec la Philarmonie de Vienne à tel point qu'elles sont devenues ma norme d'interprétation), moins dans la musique du XXe siècle.
Mais le traitement vocal et orchestral des œuvres dans cet enregistrement (surtout dans Wozzeck) laisse place au drame (il y aurait beaucoup à écrire sur le personnage de Wozzeck) dans un ensemble équilibré et, contrairement à ce que j'ai pu lire une fois ailleurs (je ne me rappelle plus où), la direction n'est pas du tout à côté de la plaque.
Et puis il y a Dietrich Fischer-Dieskau qui rattrape des passages peut-être moins convaincants d'autres personnages et rend bien l'esprit de la première moitié du dix-neuvième siècle d'une pièce pourtant si moderne et somme toute unique en son genre.
Je préfère cette version à celle de Pierre Boulez (que j'ai depuis vingt-cinq années au moins) même si en termes d'expression pure et de rendu orchestral, cette dernière est insurpassée (insurpassable ?).
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Amazon.com: 4.3 étoiles sur 5 14 commentaires
28 internautes sur 28 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A classic Wozzeck/An outdated Lulu 26 mai 2003
Par Un client - Publié sur Amazon.com
Format: CD
I received the LPs of both of these recordings in 1973 or 1974 for my birthday (I was 13 or 14 at the time), and I grew up loving them dearly (if can "love" such works). To this day, Dietrich Fischer-Dieskau will always be Wozzeck Gerhard Stolze will always be the Captain as far as I'm concerned. Unfortunately, the Lulu recording has been superseded by versions with Cerha's completion of the 3rd act (the best of which remains Boulez's classic 1979 [?] recording). But the entire set is worth it to get this classic Wozzeck.
34 internautes sur 38 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Two masterworks from the years between the wars in a recording from the sixties 16 octobre 2005
Par Craig Matteson - Publié sur Amazon.com
Format: CD
I remember when Schoenberg, Webern, and Berg were spoken of as the New Viennese School and compared to Haydn, Mozart, and Beethoven. Seriously. From our present standpoint, it is impossible to understand how much influence these three composers had in the mid-twentieth century. These two operas continue to be performed and through them Berg has become the most widely remembered of the three.

Scholars have analyzed these works extremely closely and have discovered all kinds of symbolic patterns in the notes. For example, the music occurring around Marie as she dies seems rather chaotic, yet one scholar has shown that the music consists of ten fragments of music heard from and around her earlier in the opera. So, her life is passing before her as she dies.

There is always a debate about how much of this deep meaning one can actually hear and it does vary for each listener. This kind of discussion goes on in all the arts, but is particularly so in music because it is the most abstract of the arts. How abstract and how removed from the surface can any "meaning" be and still be heard? This was a discussion we had many times in music school and I have met no more than a very few who convinced me they could actually hear this deeply (and this is more than recognizing a given row or its transformation or hearing the most fleeting tonalities in atonal works).

For me, just as some of the ultra late romantic become somewhat over composed with a level of detail that seems to be there for its own sake, some of this minutiae is like going to a restaurant for a meal and being given an essay about a photograph of a painting of a pork chop. It may be interesting, informative, and even beautiful, but you still leave hungry.

"Wozzeck" and "Lulu" are powerful and affecting works. They do sound much more like highly chromatic, but tonal works than the abstractions of Webern. "Lulu" is the more severe and, well, bleak of the two. I have heard more than a few praise these works for telling the truth about human life and getting to the true center of the human heart. To me, they seem more like artworks that were above all anti-bourgeois and seem proud of that stance. They seem to invoke not only the materialist views of the world of Marx, but also of Freud, and other now long forgotten apostles of deterministic thought. Is it possible to still see these works eighty years on as modern? They are as much prisoners of their time as are any other opera and less transcendent than I expect great works of art to be.

Franz Wozzeck is a powerless man who has a child out of wedlock with a woman named Marie. He subjects himself to crackpot scientific experiments with a Doctor for a bit of extra money for Marie and their son. Marie feels oppressed by the social stigma of being an unwed mother, but also has eyes for other men. She is particularly attracted to a Drum Major who looks so wonderfully masculine, but is really a mere surface of a person. She has an affair with the Drum Major, which Wozzeck discovers. Since Wozzeck is already teetering on the edge of sanity from his impotence and the experiments, he falls off and stabs Marie after she tells him that she would rather be stabbed than beaten. He leaves her body and tosses the knife in a pond. Later, crazed even more deeply by guilt, he goes into the pond after the knife and drowns. The last moment of the play involves Marie's and Wozzeck's orphan at play and running off the stage oblivious that he is alone in the world.

So, is this the true heart of us all? Is that last moment poignant, sharp irony on the human condition, or mere kitsch? I mean, dealing with the world view of this drama might benefit from as much detachment and irony as you can bring to it.

"Lulu" is even harsher. She is married to a professor of medicine who has a heart attack when he sees her with a painter he has commissioned to paint her portrait. She marries the painter at the urging of another doctor, who is engaged to another, with whom Lulu has had a long term love affair (such as love is in this work). Finally, the doctor understands that the painter really is blind to Lulu's true nature and tells him of her past. He kills himself. Under threat the doctor marries Lulu. She then takes up with a Countess who is enamored of her. Lulu ends up killing him with a revolver he has given her. She is arrested and sentenced to prison.

However, the countess arranges to take her place in prison to aid Lulu's escape. The Countess, the doctor's son, and an athlete help her escape abroad. Lulu then ends up with a wealthy man who ends up being a pimp and sells her to Cairo.

While the opera was incomplete at Berg's early death at fifty, the outline and sketch let us know that she is living in London with the doctor's son and the athlete. When the Countess arrives without money, Lulu is reduced to becoming a streetwalker. She goes through a series of clients who are the musical reincarnations of her various husbands. One of them kills the doctor's son, and the last kills both Lulu and the Countess, since he is Jack the Ripper (!).

The music is powerful and worth knowing because it is so personal to Berg and works its magic quite well. However, I have been at a symphonic concert when the Lulu Suite has been played and seem people get up and leave because they find it so harsh and intense.

Berg was indeed a major composer of the twentieth century. He cannot be merely dismissed. If you want to understand the serious art of that century you must come to terms with these works. You don't have to love them, but you cheat yourself if you don't know them at least a bit. Certainly, the morality of these operas, shocking in their time, is roughly equal to the "normal" behavior in any two episodes of "Friends" and "Law and Order". So, it must be the music that continues to affect people so strongly.

These recordings by Karl Böhm are masterfully done with great sound and solid singing. Some would prefer a different style of Sprechstimme (the half-singing) done here, but I find it appropriately chilling with the singing voice sliding around above the simultaneously sounding singing voice. I have no idea how it is done, but it sounds wonderfully insane.
16 internautes sur 20 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Classic Wozzeck from 60s 10 juin 2003
Par Un client - Publié sur Amazon.com
Format: CD
I had this recording of Berg's "Wozzeck" in the 1960s. I think I was 14. I remember the performance as being one of the greatest I'd ever heard (of anything). I'd rank it with Furtwangler's "Tristan" (which knocked me out, also!) The singing of Evelyn Lear and Fischer-Deskau is magnificent; they have real chemistry, also, something rare in opera. A cast and performance made in heaven. Ranks with the Boulez version.
4 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 This WOZZECK is one of the Greats 2 avril 2010
Par stevenrothbard - Publié sur Amazon.com
Format: CD
This great, classic studio recording of Berg's first opera is the first one I heard, having bought the LPs based on reading a summary of the plot. I don't know what I liked about the story, but I immediately loved the Mahlerian score, especially as presented in such a sympathetic recording. The warmth of both Bohm's conducting and Fischer-Deiskau's wonderful voice, and the chemistry of the two principles still comes through forty years later. True, Fischer-Deiskau is perhaps too sane and vocally balanced for his part,but his performance is still one of the greatest because of the genius of his vocal coloring. Though both Abbado and Barenboim present more of the complex inner voices of the score more successfully in their live recordings, this studio version still holds its own due to the great performers and because the studio mix balances the voices with the orchestra perfectly, allowing us to hear all the vocal parts even in the loudest moments. See Werner Herzog's film of WOYZEK for an interesting presentation of the original play by Georg Buchner.

Unfortunately, I can't comment on the LULU, though the Boulez is generally thought to be the best, and it presents the complete score, finally released for publication after the death of Frau Berg.
1 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Forget about the rest: these are reference top of the drawer recordings unlikely to be superseded 17 janvier 2015
Par david - Publié sur Amazon.com
Format: CD
These operas rise or fall on the range, both emotional and vocal, of the titled singers and in particular the level of intelligence allied to beauty of voice which they can bring to the roles.

Yes, beauty of voice is an essential to sing either Wozzeck or Lulu successfully.

In addition clear direction in the music and handling of the sprechgesang scenes as supplied here by Karl Bohm is essential. A recent review on BBC's CD Review noted this was a vintage recording that while excellent in terms of performance and singing was less than clear in the orchestral sound quality. I find this splitting hairs for the sake of fault finding and a somewhat artificial bogus criticism. The recorded sound is as good as any modern version and a lot warmer. In particular, far superior to the Boulez/Walter Berry contemporaneous version on CBS which sound wise is very inferior. I also found the Abbado recording on DG pretty hard and glassy. Franz Grundheber is valiant in the role and at least not a grandaddy like Berry or Blankenheim, preposterously too old to be believable (unfortunately some baritones chose to bow out with his role, my experience of Geraint Evans at Covent Garden was excruciating) but there is little point comparing him with Fischer Dieskau in his prime. Evelyn Lear's intensely distraught Marie is like no other on disc - she could light up a theatre (or concert hall) just by walking on the stage - and for a short span had a matching heavenly voice as freshly recorded here.

There is a an Arthaus DVD of a Vienna performance of Lulu with Bohm and Lear but the picture quality in BW is poor with very poor sound also. I would not bother with it. However, for those who must have a visual element, the equally vintage BW Wozzeck from the archives of Hamburg Opera courtesy of a made for TV filmed version of the opera (yes - not a film of the stage but proper sets and camera work) is well done in good quality with fine performances especially Jena Surinac as a powerfully acted and sung Marie (somewhat contrasting with Lear's more reserved interpretation) being the highlight with a notable performance of the Drill Major by the American tenor Richard Cassilly. Another feature of this DVD is the gripping closure of the piece with the ghost-like child, the little Wozzeck, with a face like death and future malice rolled into one. Very frightening! Something you can't get in the theatre live or on CD: Berg and Buchner would have applauded.

But getting back to these classic versions on CD....

The clarity of the dialogue, singing and quality of direction ensures, for me, at least, these versions of the two Berg operas remain unchallenged first choices. There is an authenticity in both recordings that relate to their origins in the Deutsche Oper productions from whence they were recorded and the Berlin Festivals of those Cold War years when it went "hot" in that city in the 1960s, when cultural competition was as important as the arms race. Feel the quality!

The supporting ("supporting"?) cast of singers in both operas, but in particular, the Wozzeck here, is truely a roll call of honour. Both Gerhard Stolze, the operatic voice artiste, and the the best most sinister Herr Docktor Nutcase on record, Karl Kristian Kohn, are absolutely thrilling and immediate as in no other version. Fritz Uhl as the red neck monster Drill Major who is just a strutting penis, is marvelous. And guess who is Andre? Wow, Fritz Wunderlich!

Have I convinced you?

But as I said earlier there is Fischer Dieskau and Evelyn Lear - appearing in both operas - to clinch my top recommendations. You are unlikely to ever encounter such consumate interpretations of these roles anywhere else. Both accomplished artists were at a point in their careers and at an age when they were ready to take these roles.

Forget about the rest and get this CD boxset which thankfully preserves these benchmark reference performances together at a good price.
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