Berg himself said that it was a prerequisite that anyone wanting to
understand Wozzeck had to have a 'clear and accurate' understanding
of the original source material.  Buchner's father was a physician who
knew the original events almost at first hand, keeping the documentation
at home, so it's probable that Buchner would have read these reports
direct from source, so to speak.  The execution of the historic Wozzeck
was stayed because the Court heard that there was evidence that he was
insane at the time of the murder but the examining doctor insisted that
he was sane enough to be hanged, refusing to accept evidence that the
prisoner had been mentally ill for some time.  Buchner wrote seditious
political tracts, and this aspect of meaning was not lost on Berg himself
who had experience of brutal, bullying military doctors perhaps on the
wrong side of sane.  Certainly he identified with the character saying
there was 'something of himself' in it, even sending tickets to his own
illegitimate daughter by a servant named Marie (he'd also wanted the
Child to be played by a girl).

Wozzeck is insane well before the start of the opera, musically and
textually there are distinct stages through which he descends further
and further until he kills.  But it's a question of degree.  The Doctor
and Captain represent Authority and dismiss Wozzeck but look closely
at their actions and music: 'too' sharp, 'too' sure.  The set in this
production was 'over' lit to reflect the singing.  The Doctor thinks
that by reciting lists in Latin, and the Doctor figuring the exact number
of months Wozzeck has left to live, a kind of control freakery to regulate
nature by over specific incantations.  They judge Wozzeck as mad but the
Doctor has fixed obsessions not rooted in empiric study, and the Captain
has irrational fears about time, windmills etc.  They themselves are
sorely out of touch with reality: at least Wozzeck calls out 'Marie' in
his misery and has family values of some sort.  The Doctor in particular,
a Man of Science, fears nature above all.  Later when Wozzeck drowns the
Doctor and Captain run away, refusing to take any kind of moral
responsibility.

The Drum Major, though a brute, is not 'mad' in the same way - at least
he gives Marie earrings, and is responding to natural instincts, which
the Doctor despises and fears in Wozzeck.  Berg was interested in the
way that authority figures misused the power entrusted in them by society,
and got away with being psycho just because of their social position.
His experiences in the First World War played a part in the conception,
and early performers and audiences would have understood.  This opera
was frequently performed when Brecht, Weill and Eisler were developing
their own, not dissimilar visions.  What I liked about this production
was that, by keeping the dead Wozzeck on stage, the Doctor and captain
can run away, but we can't: we have to face the challenge.

Hugh Canning in the Sunday Times loved the singing and playing, hated
the set, even the metal bed (almost identical to the one in 1920/30's
productions).  Particularly Canning hated the fact that you could see
Wozzeck breathing thru the tube.  Do we need to take verite that far?
In fact the idea that Wozzecks spirit lives on fits in with a aspect of
this opera.  Interestingly, Canning quotes the Dohnanyi production with
Wachter and the Boehm with Fischer Dieskau.  For various complex reasons
I only have the third act of the Dohnanyi where Wozzeck doesn't feature
much but where Anya Silja plays a sumptuous Marie, but he doesn't like
Dalayman's less lush reading.  (I was delighted by the photo in this
review showing that her dress depicted poppies in a wheatfield, a tiny,
telling detail that ties in with the sub text of nature versus sterility).
As Margaret Mikulska perceptively said, perhaps FD is too 'elegant ' for
this, and not able to incarnate every kind of role.  I'd like to borrow
this one, not buy it.  I'm not sure either about Boehms romantic lushness
or FD, who may be brilliant when the character he portrays fits in
directly with his own sensibilities, but often can't step outside himself.
There is intelligence and intelligence and different ways of using it.
Before the enraged DFD thought police attack, of course I think he is
magnificent, but not the only way to go.  What role does Wunderlich do?
What's he like?  I'd also really love to hear the Boulez, whose Lulu is
wonderful.  And the first two Acts of the Dohnanyi!  How, also I'd like
to see this production again.  The broadcast can be heard online
internationally on www.bbc.co.uk (BBC3) Saturday.

Anne Ozorio <[log in to unmask]>