| Wozzeck |
| In Wozzeck Berg created a rich mix of styles and approaches. On the surface, the language ranges from post-romantic to purely atonal, freely mixing popular and folk elements. Underlying this is an exacting approach to form: the first act is a suite of five character pieces, the second is a symphony in five movements, and the third is a series of five variations set on different ostinatos. None of this, however, is merely intellectual diversion. Instead, each idea is developed to support the dramatic action on the stage. . Source |
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| Merola evidently toyed with the idea of producing Wozzeck in 1952, and there was report of a Los Angeles patron of the arts offering to subsidize the production, but this did not come to pass. One wonders if a little more daring on Merola’s and the board’s part would have made Wozzeck possible in the early 50’s. Merola, aging and in frail health, had clearly lost some of his early fire and he was, of course, a man of the so-called old school. |
| Bloomfield's 50 Years of SFO |
| OPERA GOSSIP 'Old School' meets 'New School' |
| Sir Thomas Beecham was a matestro of the old school who played what he liked and to hell with the rest of the world. He said of Wozzeck: "It is an ingenious score, but entirely uncivilized and uncharming. I am not interested in music, or in any work of art, that fails to stimulate enjoyment in life, and, what is more, pride in life." |
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| Roles Wozzeck baritone Leo Marie, his common-law wife soprano Marie's son treble Captain buffo tenor Doctor buffo bass Drum Major heldentenor Andres, Wozzeck's friend lyric tenor Margret, Marie's neighbor contralto First Apprentice deep bass Second Apprentice high baritone Madman high tenor Soldiers, apprentices, women, children |