the truest, least over-the-top Wozzeck I’ve seen […] here virtuosity was the means, not the end. Sonic effects didn’t seem detached from what was happening onstage, a vision of the pit as its own private world of hermetic beauties; instead, the orchestra acted as an enhancer and interlocutor. (Zachary Woolfe, The New York Times, 9.8.2017)
Congratulations to William Kentridge, whose production of Alban Berg’s Wozzeck has received rave reviews at this year’s Salzburg Festival, showing once again that the work has lost nothing of its relevance. The production premièred on 8 August under the baton of Vladimir Jurowski, further performances take place on 14, 17, 24 and 27 August.
I did not dream of wishing to reform the art form of opera by composing Wozzeck, nor was that my intention as I began to compose it; nor did I ever consider, assume or expect that the result would be an object lesson in what should be exemplary in creating another opera – either of my own or by another composer. (Alban Berg, in Musikblätter des Anbruch, January 1930)