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2013-06, Madrid,Teatro Real, Wozzeck

Wozzeck

Composer : Alban Berg
Librettist : The composer after the drama Woyzeck by Georg Büchner
Venue and Dates : Teatro Real, Madrid  (production take-over from Paris 2008)

3, 5, 8, 10, 13, 15, 18, 20 June 2013  20:00

Conductor : Sylvain Cambreling
Sets : Christoph Marthaler
Costumes : Anna Viebrock
Lighting : Olaf Winter
Performers :

Wozzeck : Simon Keenlyside
Tambourmajor :Jon Villars
Andres : Roger Padullés
Hauptmann : Gerhard Siegel
Doktor : Franz Hawlata
Marie : Nadja Michael
Margret : Katharina Bradic
First Apprentice: Scott Wilde
Second Apprentice: Tomeu Bibiloni
Der Narr : John Graham-Hall

Photo Gallery

Sound Bites

Translations by Gudrun

Alicia Huerta, El Imparcial, 4.6.13

” El barítono británico Simon Keenlyside ha sido quien que se ha llevado aclamaciones de bravo por su soberbia interpretación del protagonista esquizofrénico en la ópera de Alban Berg, Wozzeck, que se ha estrenado este lunes en el Teatro Real …. Simon Keenlyside construye un realista y soberbio Wozzeck, que se crece según avanza la acción. Un personaje complejo, que combate la angustia y la ansiedad con la actividad, moviendo el cuerpo para que no se mueva, aún más, la mente. Sus tics lo delatan, pero también le sirven para hallar un poco de sosiego en la rutina de lo cotidiano, en las acciones repetidas. Hasta que todo salta por los aires e, incluso entonces, en la forma en que da muerte a Marie, intenta Wozzeck ser congruente. “Prefiero que me claves un cuchillo a que me toques” llega a decir Marie, el otro personaje atormentado por su propia alma a la que intenta justificar para después satisfacer y viceversa. …”

“British baritone SK received cheers of “bravo”for his great interpretation of the schizophrenic protagonist of Alban Berg’s opera, Wozzeck, which premiered this Monday at Teatro Real. … SK played a realistic and superb Wozzeck, getting even better in the course of the action. A complex character who struggles with outward activity against anxiety and panic, moving the body so that the mind doesn´t move any more. His tics denounce him, but they also serve him to calm down a little in the daily routine, in repeated actions. Until everything explodes, and even then, in the way he kills Marie, Wozzeck tries to act appropriately: “Don’t touch me. Better a knife in my body than a hand on it” Marie had said before….”

Concha Barrigós, il diario, 4,6,13

” … Simon Keenlyside, que desde que debutó el papel en esta misma producción en la Opera National de París, en 2008, se ha convertido en su intérprete imprescindible ha logrado una ovación unánime con su conmovedor retrato de un hombre simple, humillado y vencido …”

” …Simon Keenlyside, who since his debut in the same production at Opera National de Paris has become the essential interpreter of the role of Wozzeck, received an unanimous ovation for his deeply moving portrayal of a simple, humiliated and broken man. …”

Juan Ángel Vela del Campo, El País. 4.6.13

” … Todos los cantantes se desenvuelven con enorme soltura como actores, desde un soberbio Simon Keenlyside, pletórico de sutileza y expresividad, …..”

“… All singers show enormous acting skills, from an magnificent SK, full of subtleties and expressiveness ….”

Dr. Frei, ociogay.com, 11.6.2012

” … Tenemos en este “Wozzeck” de fin de temporada un reparto extraordinario, encabezado por el británico Simon Keenlyside, curtido ya en este papel. Soberbio cantante y mejor actor, borda el papel, lo hace suyo y lo encarna con total credibilidad. Se puede decir que por momentos él es Wozzeck, el único posible… No ocurre esto tan a menudo en el artificio de los escenarios. …”

“…. In this ‘Wozzeck’ at the end of the season we have an extraordinary cast, led by British baritone Simon Keenlyside, who has already got experience with this role.
A superb singer and very good actor, he makes this role his own and plays the character with total credibility. One could say that for the moment he IS Wozzeck, the only one possible …. This doesn’t happen so often in the artificial world of the stage. …”

Mariano Horta, lecturaylocura.com

” … El atormentado Wozzeck estuvo representado por el contundente y versátil Simon Keenlyside, un barítono portentoso con un agudo extenso y lleno de color y sin pérdida en el grave; su construcción, rozando el histrionismo, estuvo cargada de pasión y buen hacer, resultó tremendamente convincente; …”

” … The tormented Wozzeck was interpreted by the convincing and versatile Simon Keenlyside, a marvellous baritone with a very good height full of colour and without any loss in the lower range. His interpretation, touching the histrionic, was brimming with passion and well done so that it proved tremendously convincing. …”

Álvaro del Amo, EL MUNDO, 4.6.2013

“… Simon Keenlyside es un barítono de amplio espectro, actor esforzado y varón bien parecido, capaz de cantar a Mozart, Verdi y Debussy, además de a los contemporáneos Lorin Maazel o Thomas Adés, con la misma dinámica competencia. Tal vez por su grato aspecto de buena persona le va más el papel de Papageno, el simpático inocente, o el del Marqués de Posa, noble abnegado, que el de Macbeth, asesino en serie. Wozzeck, el lúcido obtuso, con una sensibilidad tan exacerbada que se convierte en inteligencia, cabe imaginar que puede convertirlo en una de sus creaciones, siempre que cuente con una dirección de escena que respete la delicada complejidad del personaje, inédita en esta producción de la Opera de París. Aquí queda reducido a un ajetreado camarero, que se desplaza abrumado de un lado a otro, sin que su dolor y sus chispazos de genio asomen apenas; sólo al final, en la última escena con Marie se vislumbra la capacidad de un intérprete, lamentablemente sofocado. … en su último dúo ofrece al maltratado Keenlyside la ocasión póstuma de mostrar sus calidades. …”

” … Simon Keenlyside is a baritone with a wide range, a talented actor and a handsome man, who can sing Mozart, Verdi and Debussy and also contemporary composers like Lorin Maazel or Thomas Adès with the same dynamic competence. It may be that because of his pleasant, “good-guy” appearance roles like Papageno, the likeable innocent, or Marquis de Posa, the self-sacrificing nobleman, suit him better than Macbeth, the serial killer. One can imagine that he is able to make Wozzeck, the lucid obtuse man, with a sensibility so irritated that it turns into intelligence, one of his creations, always provided the staging respects the delicate complexity of the character, which is not the case in this production of the Opera de Paris. Here he remains reduced to an overworked waiter who moves busily to and fro, hardly showing his pain and his sparks of genius. Only at the end, in the last scene with Marie, one gets an idea of the acting talent of an interpreter unfortunately “suffocated” (by the direction). … …in their last duet she (Nadja Michael) offers the ill-treaded Keenlyside the late chance to show his qualities. …”

Alberto González Lapuente, ABC.es, 5.6.2013

” … Con todo, se le coge cariño a Simon Keenlyside porque, vía Marthaler, dibuja un personaje verosímil que se iguala con un reparto cuya adecuación vocal parece impropia del Real. En el caso de Keenlyside desde la nobleza, la calidad y un punto de ingenuidad. …”

Mikel Chamizo, Mundoclasico.com, 2.7.2013

” … El triunfador de la noche fue, qué duda cabe, Simon Keenlyside como Wozzeck. Construyendo el rol en la línea de una mente frágil y expuesta, más que la de un desequilibrado potencialmente peligroso, dibujó al soldado con extraordinaria precisión, tanto actoral -con sus tics de trastorno obsesivo compulsivo tan bien imitados- como vocal, con un trabajo trímbrico -muy importante en Wozzeck como recurso expresivo- maravilloso en su sutilidad y riqueza de matices. ….

“… The winner of the night was, without doubt, Simon Keenlyside as Wozzeck. He conceived Wozzeck more as a fragile and exposed mind than as a potentially dangerous mentally disturbed person and played the soldier with extraordinary precision, as well in acting – with the well imitaded tics of an obsessive-compulsive disorder- as vocally, with his handling of colours (very important in “Wozzeck” as a means of expression) which was wonderful in its subtlety and richness of shades. …”

{ 6 comments… read them below or add one }

Gudrun June 12, 2013 at 10:25 pm

Hello Sue,
The problem with translation programmes, even the better ones, is that they can’t think and don’t consider the context. And so the results are often funny or strange or both.
I’ll be glad to write about the Hamburg Britten recital. It really is a shame and I couldn’t believe that there was no review in the papers.
Kind regards
Gudrun

Sue June 12, 2013 at 10:58 am

Hello Gudrun,
Thank you very much for your translations. Google Translate is a really useful resource but often produces rather eccentric results. For this last review it described Simon as ‘tanned’ – a nice thought but hardly in character!
Thank you also for the lovely Hamburg photograph. If you have time it would be so good if you could share your impressions with us, especially as there seem to have been no reviews of the recital.
Kind regards
Sue

Gudrun June 11, 2013 at 8:32 pm

I’ve found another Spanish review of “Wozzeck” by a Dr. Frei from 11 June:
http://www.ociogay.com/2013/06/11/wozzeck-una-oportunidad-perdida-de-estremecer/

This is what it says about Simon:

“…. In this ‘Wozzeck’ at the end of the season we have an extraordinary cast, led by British baritone Simon Keenlyside, who has already got experience with this role.
A superb singer and very good actor, he makes this role his own and plays the character with total credibility. One could say that for the moment he IS Wozzeck, the only one possible …. This doesn’t happen so often in the artificial world of the stage. …”

As far as I understand the rest, they found the musical side (orchestra, conductor, singers) very good but didn’t like the production.

Gudrun

Petra June 7, 2013 at 5:36 am

Thanks a lot, Gudrun, have added your reviews on the site.

Gudrun June 6, 2013 at 9:55 pm

Dear SK Team,

For more than two years I have been a fan of Simon and almost as long I have been following your wonderful website.

When I read today that you are looking for someone to translate the passages of the Spanish reviews, I decided to try. My Spanish is very poor actually, but having been a fan of José Carreras for 25 years I have some experience with Spanish reviews and articles about opera, so I hope what I translated makes sense.

Thank you for your great work with the website. It is very much appreciated.

Best Regards

Gudrun from Leipzig, Germany

diana jones May 30, 2013 at 12:26 pm

Hi all,
Here is a link to a You Tube video of Simon, and others, talking about Madrid Wozzeck, and short clip of rehearsal.
http://www.youtube.com/watch?v=eTNOBHWK6ao

Diana.

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