Royal Swedish Opera tickets 28 November 2024 - Wozzeck | GoComGo.com

Wozzeck

Royal Swedish Opera, Stockholm, Sweden
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7 PM
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US$ 125

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Stockholm, Sweden
Starts at: 19:00
Intervals: 1
Duration: 1h 35min
Sung in: German
Titles in: Swedish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Alan Gilbert
Tenor: Klas Hedlund (Drum Major)
Soprano: Malin Byström (Marie)
Baritone: Peter Mattei (Wozzeck)
Chorus: Royal Swedish Opera Chorus
Orchestra: Royal Swedish Orchestra
Creators
Composer: Alban Berg
Writer: Georg Büchner
Director: Richard Brunel
Overview

Mattei & Byström meet in Berg's Wozzeck at the Royal Swedish Opera.

Two international stars appear on the stage of the Royal Swedish Opera when Peter Mattei and Malin Byström meet in Wozzeck, a major opera experience based on a true story about war and vulnerability. Hear two of our foremost singers in Alban Berg’s masterpiece, which was first performed in 1925 and whose important theme strongly resonates with the current world situation. A co-production with the French Opéra de Lyon, directed by Richard Brunel.

The soldier Wozzeck is being manipulated in a surveillance society. Traumatized and deranged, he murders his lover, but at the same time he falls victim to a devastating mental breakdown while the powers that be are watching. It is a story of vulnerability, mental health and human needs.

History
Premiere of this production: 14 December 1925, Berlin State Opera

Wozzeck is the first opera by the Austrian composer Alban Berg. It was composed between 1914 and 1922 and first performed in 1925. The opera is based on the drama Woyzeck, which was left incomplete by the German playwright Georg Büchner at his death.

Synopsis

Act 1
Scene 1 (Suite)

Wozzeck is shaving the Captain, who lectures him on the qualities of a "decent man" and taunts him for living an immoral life. Wozzeck slavishly replies, "Jawohl, Herr Hauptmann" ("Yes sir, Captain") repeatedly to the Captain's abuse. But when the Captain scorns Wozzeck for having a child "without the blessing of the Church", Wozzeck protests that it is difficult to be virtuous when one is poor, and entreats the Captain to remember the lesson from the gospel, "Lasset die Kleinen zu mir kommen!" ("Suffer the little children to come unto me," Mark 10:14). The Captain is confounded by Wozzeck's theological knowledge and anxiously squeaks, "What do you mean? And what sort of curious answer is that? You make me quite confused!" Wozzeck continues the discussion by positing that it would be easy to be moral if he were wealthy and that, if the poor ever "got to Heaven, we'd all have to manufacture thunder!" The flustered Captain, unable to comprehend Wozzeck, finally concedes that he is "a decent man, only you think too much!" The Captain concludes the discussion, saying it has "quite fatigued" him and again chides Wozzeck to walk slowly before finally exiting.

Scene 2 (Rhapsody and Hunting Song)

Wozzeck and Andres are cutting sticks as the sun is setting. Wozzeck has frightening visions and Andres tries unsuccessfully to calm him.

Scene 3 (March and Lullaby)

A military parade passes by outside Marie's room. Margret taunts Marie for flirting with the soldiers. Marie shuts the window and sings a lullaby to her son. Wozzeck then comes by and tells Marie of the terrible visions he has had, promptly leaving without seeing their son, much to Marie's dismay. She laments being poor.

Scene 4 (Passacaglia)

The Doctor scolds Wozzeck for not following his instructions regarding diet and behavior. But when the Doctor hears of Wozzeck's mental aberrations, he is delighted and congratulates himself on the success of his experiment.

Scene 5 (Rondo)

Marie admires the Drum Major outside her room. He makes advances on her, which she first rejects but then accepts after a short struggle.

Act 2
Scene 1 (Sonata-Allegro)

Marie is telling her child to go to sleep while admiring earrings the Drum Major gave her. She is startled when Wozzeck arrives. He asks where she got the earrings, and she says she found them. Though not convinced, Wozzeck gives her some money and leaves. Marie chastises herself for her behavior.

Scene 2 (Fantasia and Fugue on 3 Themes)

The Doctor rushes by the Captain in the street, who urges him to slow down. The Doctor then proceeds to scare the Captain by speculating about what afflictions he may have. When Wozzeck comes by, they insinuate that Marie is being unfaithful to him.

Scene 3 (Largo)

Wozzeck confronts Marie, who does not deny his suspicions. Enraged, Wozzeck is about to hit her when she stops him, saying even her father never dared lay a hand on her. Her statement "better a knife in my belly than your hands on me" plants in Wozzeck's mind the idea for his revenge.

Scene 4 (Scherzo)

Among a crowd, Wozzeck sees Marie dancing with the Drum Major. After a brief hunter's chorus, Andres asks Wozzeck why he is sitting by himself. An Apprentice delivers a drunken sermon, then an Idiot approaches Wozzeck and cries out that the scene is "Lustig, lustig...aber es riecht ...Ich riech, ich riech Blut!" ("joyful, joyful, but it reeks...I smell, I smell blood").

Scene 5 (Rondo)

In the barracks at night, Wozzeck, unable to sleep, is keeping Andres awake. The Drum Major comes in, intoxicated, and rouses Wozzeck out of bed to fight with him.

Act 3
Scene 1 (Invention on a Theme)

In her room at night, Marie reads to herself from the Bible. She cries out that she wants forgiveness.

Scene 2 (Invention on a Single Note (B))

Wozzeck and Marie are walking in the woods by a pond. Marie is anxious to leave, but Wozzeck restrains her. As a blood-red moon rises, Wozzeck says that if he can't have Marie, no one else can, and stabs her.

Scene 3 (Invention on a Rhythm)

People are dancing in a tavern. Wozzeck enters, and upon seeing Margret, dances with her and pulls her onto his lap. He insults her, and then asks her to sing him a song. She sings, but then notices blood on his hand and elbow; everyone begins shouting at him, and Wozzeck, agitated and obsessed with the blood, rushes out of the tavern.

Scene 4 (Invention on a Hexachord)

Having returned to the murder scene, Wozzeck becomes obsessed with the thought that the knife he killed Marie with will incriminate him, and throws it into the pond. When the blood-red moon appears again, Wozzeck, fearing that he has not thrown the knife far enough from shore and also wanting to wash away the blood staining his clothing and hands, wades into the pond and drowns. The Captain and the Doctor, passing by, hear Wozzeck moaning and rush off in fright.

Interlude (Invention on a Key (D minor))

This interlude leads to the finale.

Scene 5 (Invention on an Eighth-Note moto perpetuo, quasi toccata)

The next morning, children are playing in the sunshine. The news spreads that Marie's body has been found, and they all run off to see, except for Marie's son, who after an oblivious moment, follows after the others.

Venue Info

Royal Swedish Opera - Stockholm
Location   Gustav Adolfs torg 2

Royal Swedish Opera is Sweden's major national stage for opera and ballet. Famous singers who have been part of the opera's ensemble have included Jussi Björling, Gösta Winbergh, Nicolai Gedda, Peter Mattei, Jenny Lind, Birgit Nilsson, Elisabeth Söderström, Fritz Arlberg, Anne Sofie von Otter, Katarina Dalayman and Nina Stemme.

The orchestra of the Royal Swedish Opera, the Royal Swedish Orchestra, Kungliga Hovkapellet, dates back to 1526. Royal housekeeping accounts from 1526 mention twelve musicians including wind players and a timpanist but no string players. Consequently, the Royal Swedish Orchestra is one of the oldest orchestras in Europe.

Armas Järnefelt was on the music staff from 1905, rising to become chief conductor between 1923–1933 and 1938–1946. The Royal Swedish Ballet, Kungliga Baletten, was founded by Gustav III of Sweden in 1773.

The building is located in the center of Sweden's capital Stockholm in the borough of Norrmalm, on the eastern side of Gustav Adolfs torg across from the former Arvfurstens Palats, now Ministry for Foreign Affairs. It lies on the north side of the Norrström river and is connected to the Royal Palace through the Norrbro bridge.

The opera company was founded by King Gustav III and its first performance, Thetis and Phelée with Carl Stenborg and Elisabeth Olin, was given on January 18, 1773; this was the first native speaking opera performed in Sweden.

But the first opera house was not opened until 1782 and served for a century before being replaced at the end of the 19th century. Both houses are officially called the "Royal Opera", however the terms "The Gustavian Opera" and "The Oscarian Opera", or the "Old" and "New" Opera are used when distinction is needed.

The Gustavian Opera
The original Stockholm Opera House, the work of architect Carl Fredrik Adelcrantz was commissioned by King Gustav III, a strong adherent of the ideal of an enlightened absolutism and as such was a great patron of the arts. The Swedish Opera company had first been located in Bollhuset, but there was a need to separate the Opera from the theatre and give them separate buildings. Construction began in 1775 and the theatre was inaugurated on 30 September 1782 with a performance of the German composer Johann Gottlieb Naumann's Cora och Alonzo. It was also the place for public masquerade balls, events inspired from the famous opera-balls in Paris, which was open for everyone wearing a mask at a cheap cost and somewhat ill-reputed.

The building was very imposing with its centre Corinthian tetrastyle portico supporting four statues and topped by the royal crown. The four-tiered auditorium was oval in shape, had excellent acoustics and sight lines. The sumptuous foyer contained neoclassic medallions and pilasters.

It was in the foyer of the opera house where the king met his fate: during a masquerade on March 16, 1792, he was shot by Jacob Johan Anckarström, and died 7 days later. (In turn, this event inspired the operas Gustave III by Daniel Auber and Un ballo in maschera by Verdi.) Following the assassination, the opera house was closed until 1 November 1792, when it was opened again, which by some was considered shocking. The son of Gustav III, King Gustav IV Adolf of Sweden, did not like the Opera, possibly because of the murder of his father, and disliked the fact that the scene of his father's murder was used as a place of amusement and leisure, and when a frivolous play was performed for his queen Frederica of Baden in 1806, he decided to close it down. It remained closed until 1809, and when the king was deposed, it took until May 1812, before it was organised enough to be fully opened again.

The Oscarian Opera, Operan

The old opera was demolished in 1892 to give way to the construction of a new Opera drawn by Axel Johan Anderberg, which was finished seven years later and inaugurated by King Oscar II with a production of a Swedish opera (that tradition having been quite firmly established during the 19th century), Franz Berwald's Estrella de Soria.

The new house had the letters Kungl. Teatern, literally "Royal Theatre" (which caused the later-founded Royal Dramatic Theatre to add the distinction "dramatic" to its name). The building is now simply called Operan ("The Opera"), written in golden letters above the middle arch on the front facade. It is a majestic neo-classical building with a magnificent gold foyer (Guldfoajén) and elegant marble grand staircase leading to a three-tiered auditorium somewhat smaller than the old theatre. It presently seats 1,200. Most productions are now sung in the original language (with Swedish subtitles), with only a few in Swedish.

The Royal Swedish Family of King Carl XVI Gustaf keeps the Royal Box reserved, located in the first tier in the auditorium above the orchestra pit.

The current general manager of the Royal Swedish Opera is the Swedish mezzo-soprano Birgitta Svendén. In November 2011, the Dutch conductor Lawrence Renes was named the next chief conductor of the company, as of the 2012–13 season, with an initial contract through the 2016–17 season.

Important Info
Type: Opera
City: Stockholm, Sweden
Starts at: 19:00
Intervals: 1
Duration: 1h 35min
Sung in: German
Titles in: Swedish
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