The voice of Berg's Wozzeck has been characterized by his Sprechgesang, heard as manifestation of his abnormality or even ‘hysteria’. However, Wozzeck often sounds more lyrical and emotive in relation to his oppressors, whose sense of authority is undermined by their caricatured vocal lines and vocal types. Rather than representing a ‘broken’ voice, Wozzeck's Sprechgesang is reserved for moments shared with his fellow low-ranking comrades, suggesting that it served as a voice of solidarity and empathy. In this article, I historicize the première of the opera at the Berlin State Opera; indeed, a glance at the singers who played the central roles suggests how the characters were perceived. It reveals an intertextual web of suffering shared between Berg's traumatized soldiers, and the perverse exercise of authority. Wozzeck therefore opens up questions about the expression of ideals in post-First World War Germany: the ideal of a stoic man demanded by the army, and the ideal of a voice.

中文翻译：

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抒情的张力，集体的声音：阿尔班伯格的沃采克中的阳刚之气

伯格的沃采克声音的特点是他的演讲格桑，听来是他异常甚至“歇斯底里”的表现。然而，与他的压迫者相比，沃采克通常听起来更抒情和情绪化，他们的漫画声线和声乐类型削弱了他们的权威感。沃采克的不是代表“破碎”的声音，而是演讲格桑保留给与他的低级同志分享的时刻，这表明它是一种团结和同情的声音。在这篇文章中，我将歌剧在柏林国家歌剧院的首演历史化；事实上，看一眼扮演中心角色的歌手就可以看出角色是如何被感知的。它揭示了伯格受创伤的士兵之间共享的痛苦互文网络，以及权力的不正当行使。沃采克因此，提出了关于第一次世界大战后德国理想表达的问题：军队要求的坚忍不拔的人的理想，以及发声的理想。