(after the play Woyzeck by
Georg Büchner as adapted by Paul Landau)
It is a musical
masterpiece that revolutionized 20th-century opera. It is
revolutionary for a number of reasons:
ATONALITY - It is the first atonal work to become
part of the operatic repertory, although like most controversial
landmark works it took some time getting there.
SUBJECT MATTER - It is an opera less of plot
than of anguish - a karmic psychological drama surrounding a lowly
soldier humiliated by superiors, trapped in an uncaring world,
driven to madness, jealousy and murder - of his woman Marie, his
only link to stability.
She sings with exhilaration in her voice... Her singing
is strong, rich with compassion and vital. -
The NY Times 04/19/99
"...few artists on today's opera stage muster her searing musical
and theatrical intelligence. (She) slights neither Marie's voluptuousness,
(nor) her genuine love for her child... the chill expectation of
death illuminates every gesture. "
- SF Examiner 11/04/99
Hildegard Behrens was on hand to lend the evening some much-needed
vocal juice. (She gives a) lustrous performance ...her soprano sounds
luminous and finely controlled.... Her lullaby... achingly tender
and tuneful and her more vigorous outbursts... powerful... without
sounding strident. -SF Chronicle 11/04/99
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* The audio and video recordings are of her performance at the Vienna
State Opera, Claudio Abbado conducting.