Alban Berg’s Wozzeck seems to attract just about every possible treatment from directors other than a straightforwardly literal one. Krzysof Warlikowski’s approach, seen at Dutch National Opera in 2017, is to go back to the original story on which the Büchner play, in its turn the source for the opera, is based. Wrapped around that are several interesting ideas which I can’t fully unpack but which make for a rather creepy but compelling production. Alas, the disk package has nothing to say about the production so, interpretively, one is on one’s own.
Krzysztof Warlikowski’s production of Berg’s Lulu (it’s the three act version with the Cerha completion) recorded at Brussel’s La Monnaie in 2012 is so stuffed full of symbolism it’s really hard to fully unpack. There’s a sense that Lulu represents Everywoman, for some rather twisted definition of “woman”. She’s Lilith. She’s Pandora. She’s the Black Swan and the White Swan. She’s lost or corrupted childhood and she’s love gone wrong. Maybe she’s even the phantom of Berg’s estranged daughter. All these symbols recur again and again in various combinations. In fact, on DVD, it’s pretty much impossible to keep track of them.
Cherubini’s 1797 opéra comique Médée was one of the first to use the form for serious drama. Krzysztof Warlikowski’s 2011 production filmed at La Monnaie in Brussels is certainly that. Jason, Medea and the rest are very contemporary characters though we often see them against a backdrop of 1960s style home movies and the chorus too, which tends to remain in the background also seems to be from the same period.The meaning of this juxtaposirtion isn’t clear and there is nothing on the disks or in the documentation to help. We are also told that the libretto was adapted by Warlikowski and dramaturge Christian Longchamp but nothing more than that. This is definitely a production where the director’s notes would be a major plus.