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Berg: Wozzeck

Theo Adam (Wozzeck), Gisela Schröter (Marie), Reiner Goldberg (Tambourmajor), Helmut Klotz (Andres), Horst Hiestermann (Hauptmann), Konrad Rupf (Doktor), Horst Hiestermann (Narr), Gisela Pohl (Margret)

Radio-Sinfonie-Orchester Leipzig, Rundfunkchor Leipzig, Herbert Kegel

Release Date: 21st Oct 2013
Catalogue No: 94699
Label: Brilliant Classics
Series: Opera Collection
Length: 84 minutes

Berg: Wozzeck

Work length1:24:50

$30.00

$39.00

Theo Adam (bass), Reiner Goldberg (tenor), Helmut Klotz (tenor), Horst Hiestermann (tenor), Konrad Rupf (baritone), Rolf Wollard (baritone), Ekkehard Wlaschiha (baritone), Gisela Schroter (mezzo-soprano), Gisela Pohl (alto), Norbert Klesse (boy soprano), Aloys Tinschert (tenor), Monika Vahle (soprano), Heidrun Zienecker (boy soprano), Frank Grundei (boy soprano)
Leipzig Radio Choir, MDR Sinfonieorchester
Herbert Kegel
Recorded: 09 April 1973
Recording Venue: Live recording, Kongresshalle, Leipzig, Germany

Act I Scene 1: Langsam, Wozzeck, langsam! - Wozzeck, Er sieht immer so verhetzt aus! - Wozzeck, Er ist ein guter Mensch (Wozzeck, Captain)

Track length7:26

$2.00

$2.60

Act I Scene 1: Transformation Music

Track length0:40

$1.00

$1.30

Act II Scene 2: Du, der Platz ist verflucht! - Lauft dort ein Has vorbei - Horst Du, es wandert was (Wozzeck, Andres)

Track length5:13

$1.00

$1.30

Act I Scene 2: Transformation Music

Track length1:03

$1.00

$1.30

Act I Scene 3: Mariens Stube: Tschin Bum, Tschin, Bum - Komm, mein Bub! - Madel, was fangst - Wer da? Bist Du's, Franz? - Der Mann! (Wozzeck, Marie, Margret, Marie's Boy)

Track length6:58

$1.00

$1.30

Act I Scene 3: Transformation Music

Track length0:51

$1.00

$1.30

Act I Scene 4: Was erleb' ich, Wozzeck? - Unsterblich! (Wozzeck, Doctor)

Track length6:31

$1.00

$1.30

Act I Scene 4: Transformation Music

Track length0:37

$1.00

$1.30

Act I Scene 5: Strasse vor Mariens Tur: Geh einmal vor Dich hin! - Sieht Dir der Teufel aus den Augen?! (Marie, Drum Major)

Track length2:52

$1.00

$1.30

Act II Scene 1: Mariens Stube: Was die Steine glanzen? - Ich bin doch ein schlecht Mensch (Wozzeck, Marie, Marie's

Track length4:35

$1.00

$1.30

Act II Scene 1: Transformation Music

Track length0:35

$1.00

$1.30

Act II Scene 2: Strasse: Wohin so eilig - Wie der Kerl lauft (Wozzeck, Doctor, Captain)

Track length8:37

$2.00

$2.60

Act II Scene 2: Transformation Music

Track length0:24

$1.00

$1.30

Act II Scene 3: Guten Tag, Franz - Da! Hat er do gestanden (Marie, Wozzeck)

Track length2:29

$1.00

$1.30

Act II Scene 3: Transformation Music

Track length1:09

$1.00

$1.30

Act II Scene 4: Wirthausgarten: Ich hab' ein Hemdlein an - Blut? Blut, Blut! (1st Apprentice, 2nd Apprentice, Wozzeck, Marie, Drum Major, Andres, Madman)

Track length8:14

$2.00

$2.60

Act II Scene 4: Transformation Music

Track length1:03

$1.00

$1.30

Act II Scene 5: Wachstube in der Kaserne: Oh-oh-Andres! Ich kann nicht schlafen - Ich bin ein Mann! (Wozzeck, Andres, Drum Major)

Track length4:43

$1.00

$1.30

Act III Scene 1: Und ist kein Betrug - Wie steht es geschrieben - Und kniete hin zu seinen (Marie)

Track length3:55

$1.00

$1.30

Act III Scene 1: Transformation Music

Track length1:03

$1.00

$1.30

Act III Scene 2: Waldweg am Teich: Dort links geht's in die Stadt - Wie der mond rot aufgeht! (Wozzeck, Marie)

Track length3:59

$1.00

$1.30

Act III Scene 2: Transformation Music

Track length0:40

$1.00

$1.30

Act III Scene 3: Schenke: Tanzt Alle - Komm setz Dich her, Margret! - Nein! keine Schuh (Wozzeck, Margret)

Track length2:23

$1.00

$1.30

Act III Scene 3: Transformation Music

Track length0:09

$1.00

$1.30

Act III Scene 4: Das Messer? Wo ist das Messer? - Aber der Mond verrat mich - Horen Sie? Dort! (Wozzeck, Doctor, Captain)

Track length3:47

$1.00

$1.30

Act III Scene 4: Transformation Music

Track length3:25

$1.00

$1.30

Act III Scene 5: Vor Mariens Haustur (Children, Marie's Boy)

Track length1:29

$1.00

$1.30

About
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About

The history of Wozzeck began nearly 200 years ago, when Johann Christian Woyzeck, a onetime soldier and jobless wigmaker, killed his sweetheart with a knife in a fit of jealous rage. The tragic incident provided the material for the German playwright Georg Büchner, who interpreted the fate of Woyzeck as a mass phenomenon; in his play, Büchner portrays the convicted murdered as a hopeless, compulsive creature, a mere cog in the wheels of a destructive and repressive system that tramples all human values underfoot. Such is the message communicated in Alban Berg’s setting of the work, which was premiered more than 100 years later in Berlin. Even before its first performance the opera was already causing controversy, with critics – Schoenberg among them – labelling Berg’s decision to set Büchner’s play to music a daring and ill‐conceived venture, but in the end it proved to be one of the great successes on the stage, its perfect blend of a strictly autonomous design and dramatic expressiveness providing the perfect musical dress for the playwright’s social criticism. Berg defies operatic conventions, or ‘universal human sentiments’, instead choosing to arouse sympathy with the humiliated and ridiculed, and allowing them to utter what seems incapable of expression. An all‐star German cast – the great baritone Theo Adam and contralto Gisela Schröter among them – graces this recording of the work, recorded live in Leipzig’s Kongresshalle back in 1973. “Kegel’s Wozzeck shows typically fine judgment – intense, but not exaggerated or overwrought, powerfully emotional without indulgence or sensationalism, lucid without being analytical” (MusicWeb International).

Berg: Wozzeck

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