Berg: Wozzeck (HQ) - 1970 film version [English Subtitles]

[@jamesneumann5561]

The fear and the pain and the misery that life brings is transformed into the most heart rending music that any human being could imagine. Thank you Maestro Alban Berg!

[@robmccabe27]

Very powerful performances. Berg is the master of atonal opera. I love this and Lulu. Together, they make powerful impacts.

[@williambent9636]

challenging music first encountered in the 70s when i was in high school. came to love it along with schoenberg, Ives etc. Ives said you must stand up and take dissonance like a man.

[@paulmauffray]

I have been listening to this opera since at least 1988 and not only does it get better every time, but even after 32 years of continued listening I am still discovering new re-appearances of the motives buried in the orchestration!

[@monteverdi79]

The last scene with the children hits me the most.

[@Draxtor]

If someone asks me why I still use KZbin, despite all the infantilizing garbage and propagandizing outrage content, I will point out that there are magnifcient historic masterpieces such as this one and one can FIND them! THANK YOU!!!!

[@Draxtor]

addendum: not only is it amazing that this piece is almost 100 years old but that this MADE FOR TV production in the year of my birth is so damn good! TV had potential once, but alas ....

[@yennefer2718]

Totally agree with you. You win a follower !

[@Draxtor]

@@yennefer2718 thank you! I try to add good stuff to the ether :)

[@vidlukanarea6280]

My thoughts exactly, I also say this alot :D

[@LessAshamed]

Wozzack: "Time to deal with this wife." *stab* "Time to deal with this knife." *chuck* "Time to deal with this life." *drowns*

[@soothingsouls2133]

This is amazing

[@Altonahh10]

Undisputably one of the operatic masterpieces of the 20th century. Berg had a deep understanding for Büchners play and the tragedy that unfolds in the first moment grips me so firm that I cannot escape it. The structure Berg chose is phenomenal, who would come up with the idea of creating an interlude at the end of the story, followed by such devastating 2 minutes of truth and mental emptiness?

[@thatcherdrake6452]

what an incredible work. Not only is the score beautifully composed, the cinematography and performance in general is exceptional. Studying this piece right now in a class and this was the perfect version to watch.

[@michaeljeran4941]

Bin begeistert, braaaaaaavooooò! Danke an alle, die fūr diese Produktion grade standen. Daaankeeee!

[@composernotes]

The genius of Berg’s music and a stunning production

[@EASYTIGER10]

In a way Wozzeck carries on where Strauss left off after Salome and Elektra. Strauss "stepped back from the brink" with Rosenkavalier and handed the baton he'd created to Berg. To me there are clear similarities. And BTW, I love both Strauss and Berg!

[@jbceedeez]

I discovered this piece listening to Alban Berg Op #3... Berg , I liked his counterpoint writing a tapestry of layers interacting in patterns like a fine woven quilt... I listened to the opera Wozzeck before watching the movie... Now understanding the theme , I will continue listening to this piece of art in my mind, placing the theatrics together with much enjoyment...Thankyou much!!!😊

[@albertomarcantonio3179]

Now that has to be one of the best video adaptation of an opera! Simply wonderful visuals :)

[@DRORELIMELECH120V]

Wonderful --the best and most exciting Opera of the 20th century !

[@NateSassoonMusic]

haunting orchestration, dread, beautiful music i feel like compelling depiction of horror is hard to find in opera, but wozzeck accomplishes this for me

[@noahgodard3338]

I would argue Britten's Turn of the Screw is another good example.

[@Altonahh10]

That is a great description I always use, too. Berg shows us how deep we can get and how beautiful music can be even when it describes horror in all possible musical ways.

[@alejov923]

Try Penderecki's Die Teufel von Loudun, Zimmermann's Die Soldaten and Reimann's Lear. These operas take the horror of Wozzeck (which is an opera l love) like ten steps further.

[@marcfedak]

I normally don't like opera, but I do really like WWI era classical music (and visual art and literature), so this was quite enjoyable.

[@itamarbar9580]

Ah, WWI... Where the cracks in the world of art began to show, right before all hell broke loose.

[@mjc5509]

Still cracked today MAY 2023 .

[@simonkawasaki4229]

The epitome of operatic creation... loved learning about sprechgesang in this!

[@juliuscaesar5397]

I once watched the entirety of the Exorcist, and was barely scared afterwards. I watched 45 minutes of this opera, and had a hard time sleeping this night.

[@alexandratatarinova8551]

1 сцена 5:52 Ария Воццека «Мы бедный люд» 09:20 Сцена 2 Франц Воццек и Андреас (песенка Андреаса и монолог Воццека о голове) 16:40 Сцена 3 Сцена Мари с сыном, с соседкой Маргарет и военным оркестром, 19:05 Колыбельная Мари 26:05 Сцена 4 Сцена Воццека и доктора. Пассакалия 35:10 Сцена 5. Мари с Тамбурмажором 40:27 Сцена 6. Мари с сережками, 41:44 диалог Мари и Франца 49:33 Сцена 7 Фуга на три темы Воццека, Доктора и Капитана 55:10 Сцена 8. Мари и Воццек, 58:06 л/м ножа (Лучше меня ножом ты в бок пырни) 59:45 Сцена 9. Сад при трактире. 1:04:53 хор солдат и парней «Охотник молодой» 1:08:00 Сцена 10 в казарме (Воццек, Андреас, Тамбурмажор и солдаты) 1:17:10 Сцена 11. Молитва Мари 1:22:45. Сцена 12 Мари и Воццек. Лесная дорога у пруда 1:27:30 Антракт. Сцена 13. Воццек в кабаке 1:31:30 Сцена 14 Воццека у пруда 1:40:15 Сцена 15. Детвора

[@skagenman1]

thanks, this needs to be added at the top!

[@johnbraine5940]

This is coming to Covent Garden in May 2023 where I'm sure it will go down well with the audience. I'm not sure it's us there are so many rival pieces bidding for our attention. I'm quite happy with the concept and it is very well done maybe in a year or two I'll come around.

[@eamongriffith280]

would love to see a modern day version of this

[@albertocantoni5064]

Maderna at his best in Wozzeck. Great performance of this masterpiece in a film version.

[@ZurichSee23]

Kurt Moll and Franz Grundheber are total scene stealers. WOW!

[@marcosuluaga8358]

Pobre Wozzeck, maldita sociedad, y esa escena final con el niño que queda a la merced del mundo... la música serialista es increíble, de toda la música es la que mejor capturo la verdadera esencia del espíritu humano que va siempre a un ritmo angustioso y decadente... Pienso que la música anterior como la romántica o la barroca no hace sino reflejar lo que anhelamos o lo que vivimos a nivel individual, el serialismo capta con exactitud todas las locuras humanas.

[@pod831]

Not serial, atonal.

[@davidhertzberg]

Brilliant! I've only heard the music, never seen the opera performed. many thanks!

[@JuanCarlos-bo9rd]

I have seen many versions of this great opera . But this opera film version is something really very different . It is a real masterpiece ... !

[@zigzag2510]

Absolute masterpiece!

[@antoniocoppola7644]

orchestra gives voice at what the audience should feel in front at such a drama.

[@chitsevermag301]

thank you very much for this video.

[@jambones100]

A riveting performance of a truly great work. How petty beside this are the majority of 19c romantic operas.

[@christopherbuilder5354]

What an absolute gem this is! Thank you for uploading this excellent version of Wozzeck!

[@Fan-Tomas]

to moje ulubione nagranie ze wszystkich jakie mogłem wysłuchać, a było tego sporo, Bruno Maderna rozumie Berga, tak jak Michel Gielen Schoenberga. Bardzo lubię słuchać Waltera Berry jako Wozzecka...

[@aleksiuturgaidze9058]

The interlude, so powerful.

[@michsturge671]

Even after over forty years of acquaintance, I never tire of this production. On of the best Wozzecks ever!! Maderna conducts the work with a complete grasp of its structure and, although all the acting is far about the usual operatic norm, Unger's performance as the Captain is dramatic perfection. He never resorts to reducing the character to an empty caricature...like Graham Clark in the MET video and most others.....even Gerhard Stolze can't resist the temptation in his highly thought of recording. The understated performance of Albert Weikenmaier on the Boulez recording is preferable. There's a wonderful Italian sung version with Hugues Cuneod doing an equally great job....as does Horst Hiestermann on Kegel's admirable recording.

[@shettywap]

mich sturge "

[@angusmcrandy]

Wozzeck: Toni Blankenheim, baritone Marie: Sena Jurinac, soprano Drum Major: Richard Cassilly, tenor Andres: Peter Haage, tenor Captain: Gerhard Unger, tenor Doctor: Hans Sotin, bass Workman I: Kurt Moll, bass Workman II: Franz Grundheber, baritone Idiot: Kurt Marschner, tenor Margret: Elisabeth Steiner, contralto Marie's son: Martina Schumacher, treble 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. However, 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 he is poor, but 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!" After Wozzeck continues the discussion by positing that it would be easy to be moral, if only 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 proceeds to sing 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 about being poor. Scene 4 (Passacaglia) The Doctor scolds Wozzeck for not following his instructions regarding diet and behavior. However, 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 to 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 which the Drum Major gave her. She is startled when Wozzeck arrives and when he asks where she got the earrings, 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 what afflictions may strike him. 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 subsequent 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 becomes determined that if he can't have Marie, no one else can, and he 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, now agitated and obsessed with his 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) 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 little boy, who after an oblivious moment, follows after the others.

[@siavashsafari3795]

Good idea to do a cinematic version. [ the music is brilliant and I can not add anything except compliments ]

[@thisismxoxo]

Phenomenal.

[@hervegilles7941]

Belle interprétation puissante !

[@emanuel_soundtrack]

just when you hear that is atonal you stop hearing it actually, otherwise is an indisputable masterpiece of expressionism

[@brotha_pedat]

​@@undxtaleproductions6009 I don't think that's what he meant, Ray. In clearer terms, I would say he stopped *hearing IT.* LOL. Get it? Tell me you get it.

[@prohortuzemtsev3902]

Absolutely Ingeniously!

[@루시우-f1d]

1:16 네 대위님, 군인동기 2:43 신사는 천천히 5:50 가난동기, 자신의 처지 항변, 베이스 군인동기 2장 8:42 9:30 3개의 자연 화음 14:21 자연화음 -불 화음 변형 13:11 지진화음 3장 16:40 4장 25:50 30:39 2장에서 본 환상을 얘기 33:23 완두콩, 양고기, 소변, 강박을 키워라 33:36 이론동기 5장 34:30

[@macfroilancambalon5614]

Can u gave another next scene

[@morisoba2550]

Such a masterpiece.

[@daponte18]

Thank you!

[@thomastereszkiewicz2241]

the lebrettist was only 21 when he wrote the work, died shortly afterwards, TB.

[@morisoba2550]

@@thomastereszkiewicz2241 I didn't know Karl Georg Büchner had died so young. The real model (Johann Christian Woyzeck) of protagonist in this Theater Piece had schizophrenia disease and actually killed his lover.

[@savioalves1234]

The 3th cene has a beautiful melody! Even people that don't like atonal peaces could enjoy that... Sena Jurinac did a great job given that cene a more settle interpretation (Vocally speacking), you can enjoy the every pianissimo.

[@jambones100]

Twelve tone, not atonal

[@pod831]

@@jambones100 You're wrong, it is atonal. Twelve tone was invented after this opera was composed.

[@jihwanyoon6496]

Just love it.

[@yuriandropov2114]

Thank you!!

[@BriannaFinnell]

The ending 🥺

[@fabianfrankenstein7294]

I. Akt 0:19 [1. Szene] (Hauptmann, Wozzeck) 9:31 [2. Szene] (Wozzeck, Andres) 16:46 [3. Szene] (Marie, Margret) / 22:02 (Wozzeck, Marie) 26:06 [4. Szene] (Doktor, Wozzeck) 35:16 [5. Szene] (Marie, Tambourmajor) II. Akt [38:45] (Wozzeck, Marie) 44:45 [2. Szene] (Hauptmann, Doktor) 55:07 [3. Szene] (Marie, Wozzeck) 1:00:45 [4. Szene] (Handwerksburschen)

[@Lilit2863]

1 действие 19:05 колыбельная Мари 3 картина 2 действие 1:00:43 сцена в трактире Душа это водка 3 картина 1:02:50 вальс и танец тамбур мажора и Мари 4 картина 3 действие 1:22:43 дорога у пруда, 1:25:50 убийство Мари 2 картина 1:28:04 сцена в кабаке полька и расстроенное пианино

[@musicologymatt]

Act 3, Scene 4 1:31:28 Act 3, Interlude 1:37:30 Act 3, Scene 5 1:40:15

[@benjaminnylander1355]

sooooOOO demented... love it

[@michaeldeitch3642]

My music theory professor showed us this film in class today. Now “Hopp Hopp” is our new running gag for the semester.😂

[@megabugginout]

I guess being emotionally dissociated with one’s mother death should be a running gag. Hopp Hopp along with that BS!

[@CosmosStoryteller]

ich bin nicht deutsche und deutsch ist nicht mein muttersprach aber ich hatte viel spaß mit diese oper es ist mein erste deutsche oper und nicht die letzten.

[@AndrewRudin]

This is generally so good, it's disappointing that some things go unrealized, especially the time of day in the 2nd and 3rd scenes. Clearly Wozzeck sees the red setting sun and hallucinates the world is on fire. And Andres specifically says the sun has set and it's getting dark. But, not here. Later, Marie remarks that it's dark both outside and in her little room, but again... it isn't. When so much else seems meticulously coordinated with the score and the text, such things stand out even more. Also, wish there were simply a fade to a moment of black after the 5th scene, to observe visually the break between act one and the beginning of act two. And still more grievously, in the final act, where Marie is murdered, she and Wozzeck remark on how dark it is, how red the moon is, etc. But, it's clearly not. And later as Wozzeck searches for the knife the redness of the moon is again ignored, and he wanders into the pond clearly in bright daylight. It also makes the remarks later by the Captain rather pointless and contradictory. And meditating on the pond, in clear daylight, during the great d-minor final interlude... well, it just makes little sense. Still, greatly better than most other available versions, and certainly better than the Met's Kentridge production which violates most everything in both score and libretto.

[@garrison6863]

I am not a big opera fan but this looks like a good production.

[@aleksiuturgaidze9058]

Sound of a century.

[@NateSassoonMusic]

the opera equivalent to the joker movie lol

[@kaznrg]

Ehh, Wozzeck is more intense to me. Like the movie equivalent is Eraserhead or something equally uncomfortable. The Joker is too political and "by the books".

[@NateSassoonMusic]

@@kaznrg I was joking when i said joker, it's more of a contemporary film most ppl know that resembles wozzeck than the ideal film equivalent

[@kaznrg]

@@NateSassoonMusic I guess the benefit of hindsight is that it's easy to see the interesting movies after they've been reviewed instead of wading through modern advertisement. I'd still say that Joker is a poor fit. Maybe something more like Perfect Blue, or Requiem for a dream, maybe something like that. David Lynch kind of lost his touch. No, I know! That movie with the girl who loses her head in a car accident. Hereditary. That one is contemporary and has a similar maddening feel, though still not to the right level. Can't beat old psychedelic horror for that atonal music vibe.

[@NateSassoonMusic]

@@kaznrg ah yes i saw hereditary as well, very disturbing and tense film

[@gal2659]

Were you listing disturbing movies ? Perfect Blue sure is and a fine film indeed. RFAD was just like a long anti-drugs goverment commercial, Joker was a 14 year old freaks pseudo-philosophical crap, nothing disturbing honestly.. Hereditary I haven't watched, would you recommend ?

[@macfroilancambalon5614]

I dont know what scene is best following next and next each scene?

[@anonymoususer2271]

1:17:37 I love this leitmotif

[@jezZiFeR]

1:11:45 1:17:07 3. Akt 1:21:55 1:27:27 1:28:04 1:30:00 Blut 1:31:28 Szene IV 1:37:30 Zwischenspiel Szene V 1:40:15 Szene V

[@armandssurins3364]

AB, Voc.: kzbin.info/www/bejne/qHmpd4OviplklZI , operfilma (reāla vide), dir. B.Maderna, V.-Tonijs Blankenheims, M.-Sena Jurinaca : I,1: 0:18 mūz.sāk., Voc.un Kapt.skats, 1:15=2:20 “Jawohl, Herr Hauptmann! Tieši tā, kapteiņa k-gs!”, 1:25 Kapt.prātuļo par mūžību, 3:20 epizode ar dienvidziemeļu vēju, 4:20 Kapt.pārmetumi Vocekam par morāli, 4:48=5:00 korāļžanra parod.(kapelāns teica...), 5:48 (precīzi 5:50 ) “Wir arme Leut’...”, Voc.vadm.=nabadz.vadm., 6:10 Voc.ariozo (līdz 7:50), 8:42 invenc.(starpspēle), I,2 : 8:58 Voc.un Andresa skats, 9:30 Voc.priekšnojautas, 10:08 Andr.medniekdziesma, 13:13 Voc.bailes no dabas, 14:20 saulriets, Voc.vīzija par debesu ugunsgrēku, I,3 : 16:40Marī skats, 16:45 milit.maršs, 17:35 M.dzied marša manierē, 18:20 M.saruna ar bērnu, 18:58 M.šdz., 19:05=20:05 pants (“Maedel, was fangst du jetzt an? Meitēn, ko iesāksi nu?”), 19:38=20:30 piedzied.(“Ai-jai-jā, žū-žū! Ei-a, po-pei-a!”), 20:58 M.šdz.instr.koda, 21:23=21:53 Marī kvintas, I,4 : 26:00 Voc.un Dokt.skats, 27:20 Dokt.vok.ātrruna, 27:35 Dokt.kantilēnas parod.(jāēd tikai pākšaugi), 33:35 Dokt.kantilēnas parod.(lielība par savu zinātni), I,5 : 34:30invenc., 35:13 M.un Tamb., II,1 : 38:28 M., jaunie auskari, II,2 : 44:40 Kapt.un Dokt.uz ielas, 49:30 Voc., II,3 : 55:40 Voc.un M., II,4 : 59:20 starpsp.uz Voc.vadm.bāzes, 59:45 pirmais krogusskats, pirmais valsis, 1:00:43 krogus vadm., 1:02:30 dzērāji aizmieg, 1:02:45 otrais valsis (M.dejo ar Tamb., Voc.satriekts komentē), 1:04:50 medniekkoris, 1:05:15 vidusd.(Andresa dziesmiņa), 1:05:40 kontrasts, Voc.izmisums, 1:09:25 epizode ar Plānprātiņu(ož pēc asinīm), II,5 : 1:11:45 nakts kazarmās, kora efekts - zaldāti krāc, 1:14:10 Tamb.ielaušanās, 1:15:05 Tamb.konfliktē ar Voc., 1:15:20=1:16:20 svilpots krogus vadm., III,1 : 1:17:05 M.istabā, III,2 : 1:22:43 M.un Voc.mežā, 1:25:15 rasas lāses (ksilof., arfa), 1:25:50 mēness parādīšanās un slepkavība,1:27:03 M.kvintas, III,3 : 1:27:25 Invenc.par skaņu si (kvantit.cresc.), 1:28:03otrais krogusskats, krogus polka (otrreiz īsi), 1:28:20 Voc.dzīrudziesma (“Trīs jātnieki auļoja”, M.šdz.reminiscence!), 1:29:33 Margrētas dziesmiņa, 1:30:25 Voc.asiņainā roka, III,4 : 1:31:28 Voc.maldās mežā, 1:31:43 Voc.tiešā runa (“Kur ir nazis?”), 1:32:30Voc.atrod M.līķi, 1:32:43 krogus valša īsa reminiscence, 1:33:38 Voc.bailes no mēness, 1:34:00 Voc.brien dīķī, izmisums, bezizeja, slīkšana, 1:34:50 Kapt.un Dokt., III,5 : 1:36:50 Invenc.par ton.”d“, 1:38:33 vidusd., 1:39:18 Voc.vadm.pirmsiktā, 1:39:30 repr.,1:40:15 bērnu vienaldz.skats

[@armandssurins3364]

AB, Voc.: operfilma (reāla vide), dir. B.Maderna, V.-Tonijs Blankenheims, M.-Sena Jurinaca : I,1: 0:18 mūz.sāk., Voc.un Kapt.skats, 1:15=2:20 “Jawohl, Herr Hauptmann! Tieši tā, kapteiņa k-gs!”, 1:25 Kapt.prātuļo par mūžību, 3:20 epizode ar dienvidziemeļu vēju, 4:20 Kapt.pārmetumi Vocekam par morāli, 4:48=5:00 korāļžanra parod.(kapelāns teica...), 5:48 (precīzi 5:50 ) “Wir arme Leut’...”, Voc.vadm.=nabadz.vadm., 6:10 Voc.ariozo (līdz 7:50), 8:42 invenc.(starpspēle), I,2 : 8:58 Voc.un Andresa skats, 9:30 Voc.priekšnojautas, 10:08 Andr.medniekdziesma, 13:13 Voc.bailes no dabas, 14:20 saulriets, Voc.vīzija par debesu ugunsgrēku, I,3 : 16:40Marī skats, 16:45 milit.maršs, 17:35 M.dzied marša manierē, 18:20 M.saruna ar bērnu, 18:58 M.šdz., 19:05=20:05 pants (“Maedel, was fangst du jetzt an? Meitēn, ko iesāksi nu?”), 19:38=20:30 piedzied.(“Ai-jai-jā, žū-žū! Ei-a, po-pei-a!”), 20:58 M.šdz.instr.koda, 21:23=21:53 Marī kvintas, I,4 : 26:00 Voc.un Dokt.skats, 27:20 Dokt.vok.ātrruna, 27:35 Dokt.kantilēnas parod.(jāēd tikai pākšaugi), 33:35 Dokt.kantilēnas parod.(lielība par savu zinātni), I,5 : 34:30invenc., 35:13 M.un Tamb., II,1 : 38:28 M., jaunie auskari, II,2 : 44:40 Kapt.un Dokt.uz ielas, 49:30 Voc., II,3 : 55:40 Voc.un M., II,4 : 59:20 starpsp.uz Voc.vadm.bāzes, 59:45 pirmais krogusskats, pirmais valsis, 1:00:43 ( 1:00:51 ) krogus vadm., 1:02:30 dzērāji aizmieg, 1:02:45 otrais valsis (M.dejo ar Tamb., Voc.satriekts komentē), 1:04:50 medniekkoris, 1:05:15 vidusd.(Andresa dziesmiņa), 1:05:40 kontrasts, Voc.izmisums, 1:09:25 epizode ar Plānprātiņu(ož pēc asinīm), II,5 : 1:11:45 nakts kazarmās, kora efekts - zaldāti krāc, 1:14:10 Tamb.ielaušanās, 1:15:05 Tamb.konfliktē ar Voc., 1:15:20=1:16:20 svilpots krogus vadm., III,1 : 1:17:05 M.istabā, III,2 : 1:22:43 M.un Voc.mežā, 1:25:15 rasas lāses (ksilof., arfa), 1:25:50 mēness parādīšanās un slepkavība,1:27:03 M.kvintas, III,3 : 1:27:25 Invenc.par skaņu si (kvantit.cresc.), 1:28:03 otrais krogusskats, krogus polka (otrreiz īsi), 1:28:20 Voc.dzīrudziesma (“Trīs jātnieki auļoja”, M.šdz.reminiscence!), 1:29:33 Margrētas dziesmiņa, 1:30:25 Voc.asiņainā roka, III,4 : 1:31:28 ( 1:31:30 ) Voc.maldās mežā, 1:31:43 Voc.tiešā runa (“Kur ir nazis?”), 1:32:30 Voc.atrod M.līķi, 1:32:43 krogus valša īsa reminiscence, 1:33:38 Voc.bailes no mēness, 1:34:00 Voc.brien dīķī, izmisums, bezizeja, slīkšana, 1:34:50 Kapt.un Dokt., III,5 : 1:36:50 Invenc.par ton.”d“, 1:38:33 vidusd., 1:39:18 Voc.vadm.pirmsiktā, 1:39:30 repr.,1:40:15 bērnu vienaldz.skats

[@changayong]

43:40 Wozzeck gently whispered to his kid and gave Marie all of his money.....I just feel so sad...

[@martinpitchon5578]

My 1,000 time today. And I will die soon

[@polina5918]

5:50 - «мы, бедный люд» 18:20 - колыбельная Мари 59:37 - сцена в трактире 1:28:04 - сцена в трактире 2 1:31:43 - сцена гибели Воццека 1:36:52 - интерлюдия

[@polina5918]

1:22:45 - сцена убийства Мари

[@user-rr8ri3ri2t]

Thx

[@juliuscaesar5397]

17:35 Never knew that someone could make a grimdark Disney scene, but I'm not complaining.

[@hervegilles7941]

On se rend compte å présent que cette musique, précisément parce qu'elle est å la fois atonale, mais dans une grande liberté, par rapport aux contraintes de techniques rigides comme dans le serialisme ou autre...garde un pouvoir expressif extraordinaire et passe l'épreuve du temps avec toujours autant de force.

[@jasonhurd4379]

The power and accessibility of Berg's score for Wozzeck are largely due to the fact that the music is not, strictly speaking, atonal. Examples abound on every page of the score, but two of the most notable are 1) the interlude just before the final scene, which is in an all but unambiguous d minor; and 2) Berg's prominent use of an open fifth (a big no-no in atonal music) in Marie's motif.

[@rhubarbdude3347]

51:16 this scene is so frightening, the doctor scares the hell out of me. Poor Wozzeck.

[@李卓一-t8j]

what a high quality version of Wozzeck!!! i wonder whether i can share it to the Chinese website

[@joshscores3360]

YouKu?

[@megabugginout]

This Opera is a musical mental breakdown.

[@theoppositeistrue]

Need me a bih like Marie no DOUBT

[@theoppositeistrue]

nvm. she is meant to be free, like all of us.

[@chrishaines1677]

David from Die Meistersinger.

[@brianpost1167]

Start at 20.00

[@shutty666]

Marie has such magnificent brea... th control

[@delhatton]

cool

[@polinakozlovska4311]

Invencija par tonalitāti re no op.Voceks III c. ♫ [melodija sākas apakšējā balsī!] no 1:36:43

[@danielmoctezuma4563]

¡Voy a hacer mi adaptación de Woyzeck!

[@Calvin1985]

Chuck Norris’s ear training 101 class.

[@langjones3846]

Why does Sena Jurinac *sing* the sprechgesang in the reading scene? It spoils what should have been a poignant moment.

[@bdschwa]

9:32 some folks call it a sling blade.

[@yoavserfaty7869]

Act 3, Scene 3 - 1:28:03

[@VictorAndy-b5k]

03026 Streich Square

[@janpaulwolff9310]

so depressing

[@herrwagnerianer1739]

Is this a film version of the entire opera, or has it been abridged?

[@luisbarandiaran420]

it's the entire opera

[@hanger4409]

5:34

[@СніжанаДовгань]

16:40 1д 3к кім Марі 19:12 1д 3к колискова Марі 26:10 1д 4к Воцек і доктор 59:37 2д 4к трактир 1:28:03 3д 3к сц в кабаку

[@jamesmoon305]

1:11:10 für Xylo

[@hansgurstad-nilsson8760]

:-D

[@diegomarangon9282]

Does anyone know where this was filmed?

[@senafan]

The name of the town was Kronach, according to Sena Jurinac’s biography.

[@DrCoyoteBanjo]

1:28:02 "Tanz alle!"

[@josephroxursox]

1:21:00 omfg lmfao

[@Kapoosh000]

How much to revive you guys???

[@hanger4409]

1:02:00

[@bonealphabet]

28:20 But you pissed again.

[@arthurparada3251]

I am trying to learn to compose like Berg rather than normal Post-Tonal music.

[@nathangale7702]

? What's the "normal" post-tonal music? Also, I don't think there's much truly atonal music, I agree with what Samuel Andreyev has to say about that: kzbin.info/www/bejne/bZCmeHuYmcSlnsk

[@simonestellani9633]

#mimandalaprof

[@generic_account2138]

A prelude to The Great War: You can literally hear Europe coming apart (Selbstmord)

[@StevenReed-p9z]

Waelchi Crescent

[@zachary731]

1:14:48 nice

[@davidmayhew8083]

It's ok. Good singing. But listen to Boulez if you really want this full force. The scene at the pond should have had a blood red moon and a bloody pond. No puppets at the end thankyou.

[@ilirllukaci5345]

The composer Rolf Liebermann is mentioned as involved in this production. Do you know in what capacity?

[@dr.u.8784]

Rolf Liebermann war von 1959 bis 1972 Intendant der Hamnurgischen Staatsoper und hat damals zusammen mit Gyula Trebitsch dreizehn Opernfilme produziert; neben dem "Wozzeck', den er in der Rückschau als den gelungensten dieser Filme einschätzte, u.a. "Die Meistersinger von Nürnberg", "Fidelio", "Figaros Hochzeit", "Die Zauberflöte", "Orpheus in der Unterwelt" ...

[@dr.u.8784]

Tippfehler: Hamburgischen

[@ilirllukaci5345]

@@dr.u.8784 thanks.

[@aleksiuturgaidze9058]

Poor wozzeck.

[@parisnadja]

쇤베르크의 제자, 베르크, 최초의 무조성 오페라