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THE ROYAL OPERA

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Published by Universal Edition

The position of Music Director Maestro Antonio Pappano is generously supported by Mrs Susan A. Olde OBE

The role of Wozzeck is supported by Nicholas and Suzanne Peters

The role of Doctor is supported by Marian and Gordon Pell

The role of Drum Major is supported by the late Gareth Hadley

Generous philanthropic support from Julia and Hans Rausing, Ralph and Yolande Kanza, Peter and Fiona Espenhahn, Malcolm Herring and The Wozzeck Production Syndicate

Wozzeck

19.05.2023 19:00

The 56th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

This performance will last approximately 1 hour and 40 minutes, there is no interval.

GUIDANCE

Suitable for ages 12+

This production contains stylized depictions of murder and suicide, and implications of sexual assault

CREDITS

Music
Alban Berg
Libretto
Alban Berg after Georg Büchner
Director
Deborah Warner
Set Designer
Hyemi Shin
Costume Designer
Nicky Gillibrand
Lighting Designer
Adam Silverman
Choreographer
Kim Brandstrup

CAST

Conducted by
Antonio Pappano
Wozzeck
Christian Gerhaher
Marie
Anja Kampe
Captain
Peter Hoare
Doctor
Brindley Sherratt
Margret
Rosie Aldridge
Drum Major
Clay Hilley
Andres
Sam Furness
First Apprentice
Barnaby Rea
Second Apprentice
Alex Otterburn
The Fool
John Findon
Soldier
Lee Hickenbottom
Tenor Solo
Andrew Macnair
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Onstage Banda Kaoru Yamada, David Hanesworth, Helena Roques, Ksenia Berezina (violins), Fergus Morrison (clarinet), Sasha Koushk-Jalali (tuba), Ian Watson (accordion), Nigel Woodhouse (guitar), Edward Reeve (piano)

Edward Reeve is a Jette Parker Artist

Actors Harold Addo, Tarik Badwan, Lauren Bridle, Barry Callan, Simon Jaymes, Lucas John, Sasha Kane, Xavi Monreal, Sam Morris, Douglas Santillo

Marie’s Son Jonah Elijah McGovern, Oliver Moore (cover)

Children Vittoria Calace, Bertie James Colquitt, Samuel Edwards, Roshaun Grannel, Kai Matsunaga, Alice McGivering-Childs, Yuna Monreal Sayo, Laurie Truscott, Rebekah Angel Webber

Offstage Children Tristan Johnathan Chan, Ivo Clark, Sholto Cleeve, Nina Fisher, Yuji Gregory, Tharuni Kalavannan, Thomasina Larard, William Louie, Tabitha McGovern, Raphael Noman, Phoebe Ockendon-Rowe, Maxim Sergeev

SYNOPSIS

ACT I

SCENE I

Wozzeck is working for the Captain to earn extra money to supplement his wages. The Captain tells Wozzeck that he is a good man, but that he lacks morality because he has an illegitimate child. Wozzeck says that virtue is a luxury not meant for the poor. The Captain, confused and disturbed by Wozzeck’s response, dismisses him.

SCENE 2

Wozzeck and another soldier, Andres, are cutting wood in open countryside. Wozzeck is distracted and unsettled by apocalyptic visions, and the rays of the setting sun cause him to imagine the world in flames. Darkness falls.

SCENE 3

Marie, Wozzeck’s partner, is watching a military parade with their son. When the Drum Major appears, her neighbour Margret mocks her for catching his eye.  When Marie is alone again, she sings a lullaby to her child. Wozzeck arrives and describes his visions. Marie tries to persuade him to stay, but he leaves for the barracks. Marie is left considering her unbearable life. 

SCENE 4

Wozzeck visits the Doctor who, for a small sum of money, is using him to test his dietary theories and has put him on a diet of beans. The Doctor reprimands Wozzeck for pissing in the street. When Wozzeck describes his visions, the Doctor believes he is displaying signs of a mental aberration. He resolves to make him the basis of further experimentation, which he believes will bring him fame and immortality.

SCENE 5

In the street outside her apartment, the Drum Major flirts with Marie. He attempts to seduce her, which she resists at first, until eventually giving in.

ACT II

SCENE 1

Marie is admiring the earrings she has received from the Drum Major. Suddenly aware of Wozzeck’s presence, she tries to hide the earrings, and then tells Wozzeck she found them in the street. Wozzeck is suspicious. He gives Marie his wages and leaves.

SCENE 2

The Doctor and Captain meet in the street. The Doctor, remarking on the Captain’s poor physical condition, speculates on the likelihood of the Captain having a stroke in the immediate future. Wozzeck enters and the Captain and Doctor taunt him with vicious comments about Marie’s affair with the Drum Major.

SCENE 3

Wozzeck confronts Marie with his suspicions of her infidelity, and tries to force her to confess. He attempts to strike her, but Marie resists and tells him she’d rather have a knife in her belly than his hand on her.

SCENE 4

A low tavern. Marie and the Drum Major arrive and begin to dance. Wozzeck sits alone, becoming more and more desolate as he watches them. A Fool approaches Wozzeck and tells him that he smells blood.

SCENE 5

In the barracks, Wozzeck is unable to sleep. He can’t rid himself of the sound of the music at the tavern, and the sight of the Drum Major dancing with Marie. The Drum Major enters, very drunk and boasting about his recent sexual conquest. When Wozzeck whistles in his face, the Drum Major beats him up.

ACT III

SCENE 1

Alone with her child, Marie reads passages from the Bible about women forgiven for the sin of adultery. She begs God for mercy.

SCENE 2

It is night, and Marie and Wozzeck are walking alone together near the pond. Marie wants to return home but Wozzeck insists she sit with him, and begins to talk about their relationship. When a blood red moon rises over the pond, Wozzeck sees it as a sign, produces a knife and stabs Marie.

SCENE 3

Wozzeck bursts into a tavern, dancing and singing wildly. Margret notices the blood on his hand and elbow. Wozzeck is unable to explain where it comes from, and rushes away.

SCENE 4

Wozzeck returns to the pond to look for the knife. He finds it and throws it into the water. The moon breaks through the clouds and Wozzeck fears it will reveal his crime. He wades into the pond to hide the knife further and wash the blood off his hands. The Doctor and the Captain pass by and hear the sounds of a man drowning.

SCENE 5

A group of children tell Marie’s son that his mother is dead.

PRODUCTION CREDITS

Music preparation
Christopher Willis, Richard Hetherington, Edward Reeve, Anthony Legge, Paul Wynne Griffiths
Assistant Directors
Dan Dooner, Isabelle Kettle
Assistant Choreographer
Joanna O'Keeffe
Language Coaches
Franziska Roth, Katja Parmar

With special thanks to Jon Goodwin and his HKAPA Scenic Art students who provided inspiration for the sunset back cloth process

Edward Reeve is a Jette Parker Artist

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.

You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.

Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.

Cast sheets generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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