Wozzeck

Image: Still-Life with a Skull, vanitas, Philippe de Champaigne, 1646

Alban Berg's "Wozzeck" was a feast for the eyes and ears, even with the macabre setting. The Canadian Opera Company skillfully combined the feel of old school Hollywood cinematic music with Tim Burton-esk post apocalyptic visuals.

I'm sure many would agree that the props, set design, and creepy choreography were a continuous feed of visual stimulation. The use of set was masterful; the stagehand extras— dressed in disheveled wartime medical clothing and gas masks— crawled out of nooks and crannies of the set, stiffly lumbered around the stage, only to freeze lifelessly during the singing parts. This, in combination with the set design looking like a heap of rubble, painted the sense of dilapidated post war world. The use of dividers and lighting to section off parts of the set was a great use of space, and allowed for scene and location changes to feel organic and believable. 

As for the music, the orchestra—which was rather large for an opera—as always, played phenomenally. The incredible rhythmic and tight playing really brought the score to life, turning the hall into an old super 8 Hollywood film. (This when paired with the fact the opera started with Wozzeck coming on stage with a camera, really set the idea of a multi-medium production.)

               Johannes DeBus held the baton while Michael Kupfer-Redecky sang the lead of Wozzeck, Michael Schade as The Captain, and Ambur Braid as Marie. The singers were all strong, with the music challenging the performers, often stretching the ranges. Even with a challenging score, they didn’t miss a note.

               In the whole production, my favourite character was the Doctor, played by Anthony Robin Schneider. While his character is not the most loveable one of the bunch, he was the most entertaining. Be it the clever use of the set where his medical practice is revealed from a cupboard, to his oversized stethoscope which provided a (very camp) sense of comic relieve to the otherwise very heavy and visually, narratively, and musically dark story. Robin Schnieder is a strong musician, but his acting really added to his performance.

               Like the runtime of “Wozzeck” (a brief hour and a half), this review is short and sweet. The production by the Canadian Opera Company was a continued reminder that the COC strives to present opera in new and interesting ways. The only note I could have would be that this opera felt opportune for October given the production design, but who doesn’t like a dark story in May?