Berg's bleak 'Wozzeck' powerfully performed at Lyric
A hulking war memorial dominates a devastated urban landscape in the Lyric Opera of Chicago's new production of "Wozzeck." It's an apt visual metaphor for director Sir David McVicar's powerfully bleak and dramatically tense take on composer Alban Berg's 1925 expressionistic masterpiece.
By replacing the original 1830s setting of Georg Buchner's play and shifting "Wozzeck" to just after World War I, McVicar prods audiences to contemplate the desperate times and shellshocked trauma of defeated Germans and Austrians in the era that spawned the opera.
The Lyric Opera Orchestra led by conductor Sir Andrew Davis expertly performs Berg's pioneering music, which foretells the unsettling sonic worlds of many a psychological horror flick.
The 12-tone compositional style of "Wozzeck" doesn't sound "pretty" to those weaned on romantic 19th century operas.
But the music perfectly illustrates the tragic tale.
"Wozzeck" spins around the powerless and poor title soldier (Polish bass-baritone Tomasz Konieczny).
He is driven to murder after many scenes of torment and abuse by his superiors, including the high-strung Captain (German tenor Gerhard Siegel), the unethical experimenting Doctor (British bass Brindley Sherratt) and the drunkenly violent Drum Major (German tenor Stefan Vinke).
More tender and lyrical moments are allotted to Wozzeck's common-law wife, Marie (German soprano Angela Denoke), who is torn by personal guilt about her infidelities and fear over the fate of her small son (Sugar Grove-native Zachary Uzarraga in a largely silent role).
There's also very strong work from American supporting players such as tenor David Portillo as the soldier Andres, mezzo-soprano Jill Grove as the judgmental neighbor Margaret and bass Bradley Smoak as the drunken First Apprentice.
McVicar keeps the proceedings brisk with an incisively clinical procession of scenes that are unveiled behind and in front of mildewed curtains that suggest a makeshift field hospital, another crucial feature of production designer Vicki Mortimer's artillery-pocked and graffiti-scrawled sets.
The sense of desperation is also emphasized by the battle-scarred chorus (tellingly apparent thanks to makeup designer Sharah Hatten's fine work) and drearily atmospheric work of lighting designer Paule Constable.
The only moments that sag are the traditional performance breaks normally filled by two intermissions.
McVicar wisely excises them considering the relative brevity of the opera at 100 minutes.
"Wozzeck" is always going to be a hard sell for traditional opera audiences.
But the Lyric's powerfully performed production is undeniably heartbreaking - particularly in the final moments when it becomes clear that Wozzeck's son will likely follow in the footsteps of his psychologically crushed father.
“Wozzeck”
Location: Lyric Opera of Chicago at Civic Opera House, 20 N. Wacker Drive, Chicago, (312) 827-5600 or
lyricopera.orgShowtimes: 7:30 p.m. Nov. 4, 7, 12, 16 and 21Running time: 100 minutes with no intermission; sung in German with projected English translationsTickets: $20-$249Parking: Area pay garages and limited metered street parkingRating: Largely for adults, due to subject matter