From €271
×

1 Click on the date to see the prices and book

Ticket Alert

2Choose the Category

Please precise your seating wishes regarding your ticket booking
(150 char. max)

ANY QUESTIONS ?

Contact us by tel : +33 1 53 59 39 29 – or by Email) See Help & FAQ page

TICKET DELIVERY INFORMATION

Your E-tickets to be printed will be sent by mail.

Seating

Music & Opera book the best seats available. the exact seat location will be confirmed by email. Only seats next to each other are booked.More information

Price

Music Opera ticket price differs from the ticket face value. It includes all service fees and taxes.

Refund Protection

A Refund Insurance will be offered before payment More Information

The club
Music & Opera

Join the Club to
Benefit from the special prices
Already Member of the Club,
Please Login !
Retour

Christian Gerhaher © Alexander Basta for Sony BMG Classical

Berg Wozzeck

From 21 March TO 03 April 2022
Wiener Staatsoper - Wien
Program

Berg : Wozzeck

Cast
  • Conductor
    Philippe Jordan
  • Director
    Simon Stone
  • Performers
    Wozzeck: Christian Gerhaher
    Marie: Anja Kampe
    Tambourmajor: Sean Panikkar
    Andres: Josh Lovell
    Hauptmann: Jörg Schneider
    Doktor: Dmitry Belosselskiy
    Der Narr: Thomas Ebenstein
    Margret: Christina Bock
  • Venue Info
  • Seating Plan
  • Synopsis

Wiener Staatsoper - Wien Location Opernring 2 - 1010 Wien Autriche

  • Venue's Capacity: 1709

The Vienna State Opéra is much more than just a local institution; it is a vital part of the city's identity and a national landmark.

As of the 17th century, the Hapsburgs lavishly patronized the opéra. Family members Ferdinand III and Leopold I composed for the théâtre, while Charles VI tried his hand at conducting the orchestra, and the Empress Maria-Theresa often mingled with the corps de ballet.

During the 19th century, the Karntnerthor-Theater was demolished and the présent building was constructed on the famous " Ring ". It was here that Mahler, with the help of the set designer Alfred RoUer, imposed a new style of performance, based on audacious stagings and a very précise interprétation ofthe score, which demanded countless rehearsals.

After the fall of the Hapsburgs, Richard Strauss took over the reins of the newly baptized Vienna State Opéra. Curiously enough, only one of Strauss'operas, THE WOMAH WITHOUT A SHADOW, was premiered in Vienna. Clemens Krauss and Karl Bôhm were to follow in his footsteps. Under Bôhm's direction, the Opera created its own Company, which was to serve as a model for several générations. Even the bombs that destroyed the opéra house in 1945 could not prevent singer s such as Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac or Erich Kunz from becoming legendary.

One musn't think that the Viennese applaud only their homegrown stars. In 1955, when Maria Callas came to sing LUCIA DI LAMMERMOOR in the reconstructed building with Karajan conducting, the public blocked traffic to pay tribute to the diva... in the street! Karajan succeeàed Karl Bôhm, and invited many international stars to corne sing on the Viennese stage. Works were henceforth sung in their language of origin, and coproductions with La Scala permitted the disco-very of voices such as that of Mirella Freni in LA BOHEME.

Ioan Holender has suceeded in deftly combining these international distributions with an ensemble System. He has scheduled many works never heard on the Viennese stage, which are now included in the Opera's répertoire, such as Verdi's JERUSALEM and Enesco's OEDIPE, furthering a policy instated under Claudio Abbado's brilliant direction. Whatever changes may now occur, the Opera will continue to stage at least 300 performances per season (an absolute world record ren-dered feasible thanks to the în-house technical crew, which hires no less than 250 people), and the public will continue to applaud the finest orchestra any amateur could wish for in the pit : the Vienna Philharmonie !

Wiener Staatsoper

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Wozzeck

WOZZECK: AN ATONAL OPERA


Wozzeck is a relatively modern opera composed by Alban Berg between 1914 and 1922. It was premiered in 1925 at the Berlin State Opera.


The Austrian composer Berg based the opera on the play called Woyzeck written by Georg Buchner. This play was incomplete when Buchner died and Berg rearranged extracts from it to create an opera of 15 scenes set within 3 acts. The subject matter is harsh, handling the hardship and exploitation of the poor. The composition of the opera took so long as Berg was fighting for Germany in the First World War. It was performed regularly until the Nazis decided it was 'decadent art' and banned its performance. Berg's opera was first staged in Britain at the Royal Opera House in 1952.
It is the first and most famous opera to employ atonality as a music structure. The lack of key and atonal music gives a sense of madness and starkness to the production.

HISTORY

The story of the opera revolves around the central character and his common law wife, Marie. Tired of living in poverty she succumbs to the advances of a passing soldier. He discovers their affair and vows revenge upon them. Despite Marie realising her mistake and asking for forgiveness, he kills her in a fit of anger, leaving her body to be discovered by her son and the other village children.
Act 1:
The opera opens in the Captain's suite where he is being shaved by Wozzeck. The Captain berates him for leading an immoral life and for having an illegitimate child and he responds that poverty makes morality difficult. Later he and his friend Andres are collecting firewood at sunset when they are overcome by frightening visions. A military parade passes the window of Marie, his common law wife. He tells her of his visions and leaves without seeing their son which upsets and angers her. The Doctor who has been treating him, scolds him for not following his instructions but feels his 'experiment' has succeeded when he hears of the visions. The act ends with Marie admiring the drum-major and succumbing to his advances.

Act 2

Act 2 opens with Marie and her son preparing for bed; she is admiring the earrings which the drum-major has given her and tells her common law husband that she has found them. Not sure whether to believe her or not he gives her some money and departs, leaving Marie feeling guilty. Together Doctor and the Captain tell Wozzeck that Marie is being unfaithful to him. He confronts Marie and goes to hit her but she stops him by saying that even her father never hit her. Another way of getting his revenge comes to him. The act ends with Marie dancing with the drum-major and the drum-major trying to fight her husband.

Act 3

Marie has become distraught and guilty and wants to seek forgiveness so she walks in the woods with her husband. However, in a fit of anger he decides that if he can't have her, no one will and he stabs her. Later he tries to dance with their neighbour Margaret but seeing blood on his hands makes him realise what he has done. Under a blood red moon he wades into a lake and drowns. The following morning the opera ends when children, including Marie's son, find her body.

MAIN ROLES

Wozzeck: aide to the Captain, common law husband to Marie (baritone).
Marie: his common law wife (soprano).
Captain: (buffo tenor).
Doctor: (buffo bass).
Drum-major: Marie's lover (tenor).
Andres: their friend (lyric tenor).

Wiener Staatsoper

You may also be interested by …