Although some of the images of the unforgettable ‘Wozzeck’ proposed at the Liceu by Calixto Bieito more than three decades ago will last long in the memory of high school students, they will be joined in the collective imagination, and with good reason, those created this Sunday by William Kentridge at the return of Alban Berg’s masterpiece to the Gran Teatre, absolutely wonderful, extraordinary, superb.
His proposal creates a microcosm that fits Georg Büchner’s drama like a glove and, even more so, the radical nature of Berg’s score, although perhaps a little more visual calm, at a certain moment, It would have helped to better digest this devastating title. Missing, however, were the red moon, Marie’s severed neck and the blood on the soldier’s hand, fundamental details that are ignored in this theatrical conception.
In this incredible nightmare montage, in any case, the direction of the actors and the movements of the performers through the scenographic labyrinth work convincingly, struggling to balance themselves with the spectacular visuals of the montage based above all on drawings by the South African artist who brings to the stage his worldview giving it a good sense of drama.
They supported the creator Luc de Wit in the ‘regia’, counting on extras that were almost acrobats because of their perfection, Sabine Theunissen in the stunning scenery -the Doctor’s cabinet is quite an achievement and an acoustic loudspeaker-; the incredible costume design of Greta Goiris, who manages to impress with the masks and characterizations; the sublime illumination of Urs Schönebaum; the chilling videos of Catherine Meyburgh and Kim Gunning -perhaps the most ‘cuttable’ due to the excessive ‘noise’ they proposed-, and a dreamy, beautiful, fundamental puppet, full of melancholy.
brave bet
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This brave bet had an inspired Josep Pons on the podium at the command of some stable bodies from the Liceu in a state of grace -who were joined by the well-prepared Coro Vivaldi-IPS -Petits Cantors de Catalunya directed by Òscar Boada-, weaving that electrifying warp necessary to link voices suitable for developing the psychology of the tormented characters and the necessary atmospheres. Offering Berg’s work after Debussy’s ‘Pelléas’ has been a success for music lovers -leaving aside the box office-, giving away an authentic master class, even more so as they are served in such artistically enriching stage proposals.
The love triangle made up of Matthias Goerne’s Wozzeck, Annemarie Kremer’s Marie and Torsten Kerl’s somewhat vocally fair but spectacularly visual Drum Major worked perfectly, with a tension that could be cut with an axe. And if Goerne lacked a little more projection in some bass, the interpreter knew how to make up for it with an overwhelming delivery. Fascinating performance by Annemarie Kremer, powerful and desperate, as well as Peter Rose’s poignant Doctor. Mikeldi Atxalandabaso’s Captain moved without problems due to his unattainable tessitura, and Peter Tantsits’ Andres was weak and gray. Out of the rest of the cast stood out Scott Wilde and Rinat Shaham, completely delivered.