Wozzeck It is a complex work that requires, among other things, a small initial dose of patience. Is an opera with constant challenges that must be overcome permanently. I can not say I liked it, but not otherwise. One can feel overwhelmed, restless, overwhelmed, and always espectante. And that Wozzeck is an opera with a different purpose.

The unrest has befallen the Royal Theater as a light rain that barely noticeable, but to the bone. And the charge is none other than Wozzeck, composer Alban Berg and based on Woyceck, de Georg Buchner (the difference between the name and the title is due to an error in the first edition chose to retain Berg). Their participation in World War I., Berg led to develop a pronounced anti-militarism that, but nevertheless, It did not prevent the composition of this work with a schizophrenic military old as protagonist.
Never a few cheers were so strangely timid. The audience had just been subjected to a pressure unresolved all in this production.
Wozzeck is not easy listening. Its musical and story language is described with the abstraction of atonal music, presenting a dramatically unjust universe and transferring public concern whose origin is not located easly. Is the music?, It is the argument? A strange discomfort that led some viewers off guard to leave the room.
The staging of Christoph Marthaler, production premiered at the Paris Opera 2008, It was somewhat lackluster and their everyday routine and simplicity. It was a unique setting, in the foreground a tent as fair and behind it a park playground we could find in any city. In fact, Marthaler discovered her walking the streets of Ghent. The scene of the children playing and the isolated elders in their world, each occupying a table alone, It was his inspiration to draw two distinct worlds and none of them free of melancholy. The scenery does not have the strength that we could see in the Wozzeck by Calixto Bieito in 2007. This time, Marthaler's proposal lowered the intensity and strength that has the score of Berg.
And waiting tables placed in the tent, one distraught Wozzeck, restless, maniático, Compulsive and naive. Interpreted by Simon Keenlyside, Wozzeck's character was very convincing in the theatrical. You get to feel some compassion for this poor man who reaches madness pushed by an oppressive society and medicine, far from seeking their remedy, use their weaknesses to satisfy their curiosity and ego. Keenlyside's voice is not at all bulky, at some point it was hard to hear, but the drama was reserved for the end of the third act. Touching.
Nadja Michael, as Marie, It is equipped with an instrument with a remarkable power and forceful. Your score is not easy since it must maintain a delicate balance to express emotions and cries no excesses. The result is very satisfactory and eloquent.
Captain, interpreted by Gerhard Siegel, He had a histrionic point, almost desapacible, which he potentiated the character. His voice and interpretation were very sharp and incisive.
The doctor, Franz hAWLATI, He played a villain rightly paper. She contributed to this a escasísima voice quality, very suitable for the character, vile and despicable, but not for a scenario like the Real.
Jon Villars, as drum, He starred in a steamy scene with Nadja Micael. His rough appearance, one aptly tacky costumes and theatrical ability, They gave great credibility to the character.
The rest of the cast, Roger Padullés, Scott Wilde, Katarina Bradic, Tomeu Bibiloni, Francisco Vas, Magno Antonio and Enrique Lacárcel, They perfectly balanced picture of singers and some like Katarina Bradic and Francisco Vas, with a perfect dramatization of his characters.
The orchestra, a little intemperate to the beginning, as the score itself, and as we were all, it was intoning to offer shocking moments, a power sometimes raptured, but without fanfare.
Sylvain Cambreling is not a director of great passions, but his technique is quintessential and knew extracted from the orchestra sounds and spectacular moments and full of intent. Everything to reach reflection on a familiarly dramatic story.

Alban Berg (1885-1935)
Opera in three acts and fifteen scenes
Libretto by the composer, based on
Woyzeck de Georg Buchner
New production at the Theatre Royal,
from the National Opera of Paris
D. musical: Sylvain Cambreling
D. scene: Christoph Marthaler
Set and costume designer: Anna Viebrock
illuminator: Olaf winter
Playwright: Malte Ubenauf
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Simon Keenlyside,
Nadja Michael, Jon Villars, Roger Padullés, Gerhard Siegel, Franz hAWLATI, Katarina Bradic, Scott Wilde, Tomeu Bibiloni,
Francisco Vas, Antonio Magno,
Enrique Lacárcel, Alvaro Vallejo