Good gothic fun and some really effective moments
Ralph Moore | Bishop's Stortford, UK | 07/13/2007
(4 out of 5 stars)
"In truth, very little of this German early Romantc opera is really chilling, but it's a great piece of relatively rare entertainment featuring an array of impressive voices, some of whom became more famous later and some of whom, like Alexander Malta, were simply high-calibre members of the Munich opera around 1974. There are some effective "grand guignol" moments of melodrama, such as the Vampyre's opening aria of triumph, and some lovely duets and ensembles. Too much of it sounds derivative of Weber's "Der Freischuetz" without his orchestral colouring and melodic invention and at times I feel that we are definitely drifting into Nicolai's or Flotow's world of rustic charm: heavy-handed Germanic humour and thigh-slapping drinking songs. Rather than creating a truly gothic feel, the music is often incongruously jolly but it's a rollicking piece which hangs together - even if the plot does involve the eponymous protagonist having to die three times before he will lie down - but that's vampires for you. It was probably more startling to its original audiences as it was cashing in on the "vampire craze" begun by Polidori's reworking of Byron's original idea for a chiller (conceived at the same time as Mary Shelley's "Frankenstein" one wet summer at Lake Geneva). You will recognize many of the singers but the two stand-outs are Tomowa-Sintow and Roland Hermann - the latter, I confess, entirely unknown to me, but the possessor of a rich, resonant baritone of great flexibility and expressiveness. (Contrary to an earlier review, it is not Kurt Boehme who sings the main role; he has only a minor part.) In addition, you have some delicate singing from Arleen Auger and three, excellent German basses - particularly Victor von Halem, who sang a beautiful Titurel for Karajan. Apart from the muffled opening few seconds of the overture, after which someone fiddles with the knobs, the sound is excellent - which is why Opera d'Oro have chosen to put this one into their deluxe "Grand Tier" series - but if you speak German you can make do with the standard bargain issue and download a German libretto (no translation) from the Opera Today website. I enjoyed discovering this, especially as I can see it in its context as part of the Gothic/Romantic movement sweeping across Europe at that time; you cannot really go wrong at this price and with this quality of performance."
Vampire and Virgins... Mmmmmm!
Lorenzo Moog | Seattle, WA USA | 11/01/2009
(4 out of 5 stars)
"Because it is the Season of the Dead (Halloween, All Saints and All Souls) it is the perfect time to listen to Heinrich Marschner's 1828 opera "Der Vampyr". It is unfortunate that this little gem is so rarely performed in opera houses since it would afford directors with all manner of theatrical carryings on (and appeal to a young audience). Dramatically the work is very sound with plenty of action, swiftly moving from one virgin neck to another and in the case of this recording wonderfully sung, most especially by Arleen Auger as Malwina and Anna Tomawa-Sintow as Emmy. Roland Hermann turns in a boffo performance as Lord Ruthven, the vampire in question. He takes on the role with a palpable gusto in a fine quality baritone that brings just enough menace, delighting as he does in the blood of the three virgins he must dispatch within twenty four hours. He unashamedly hams it up to very good effect and the whole cast of fine singers give it their all. The plot, from the libretto by Wilhelm August Wohlbruck, is sound with some very unlikely goings on (sudden betrothals, multiple personae for the Vampire and other bits of the unlikely) but why not, this is opera after all. Given only two and a half hours to unfold the 24 hours of the Vampire's mission we are well served by the libretto and the music. The music is a terrific mix of bravado and tenderness with a few bits of the unbearable (the opening of Act 2 for instance)but most operas have such moments. There is much delightful singing in both acts in a fine performance by the Bavarian Radio Symphony Orchestra & Chorus under Fritz Rieger. This disc is a "must have" for any well rounded collection even if it only surfaces once a year for the Festivals of the Dead. Highly recommended!"
If Frankenstein were about the villagers more than the monst
Waverley36 | Nunya | 02/15/2010
(3 out of 5 stars)
"LIT PROF, OPERA NOVICE: I love music, but I love story too! My reviews are intended to help out those of us listening/watching for drama as well as voice.
Marschner - Der Vampyr on Opera D'oro Grande Tier
CONTAINS FULL LIBRETTO
Stereo 1974
The nineteenth century was a great one for vampire stories, from Sheridan Lefanu's Carmilla to the great one, Stoker's Dracula. Outwardly staid Victorians were both fascinated and unnerved by the innate sexual tension that has always been a feature of such stories--the elements of seduction and sacrificed innocence that the best vampire stories know how to exploit (even today!). Marschner's opera is based on one of the earliest stories to capture the imagination of the European public: John Polidori's The Vampire. Polidori was traveling doctor to Lord Byron (himself a captivatingly dangerous figure) and based the vampire in his tale, Lord Ruthven, on Byron himself.
The story as adapted is more melodrama than horror tale, with Ruthven (pronounced Rih-ven) seeking to sacrifice three victims to the mysterious Vampire Master in order to maintain his own undead life. Another reviewer has suggested that the opera's wider currency might attract younger audiences to the genre. Maybe, but I think anyone listening to this opera for horrific thrills is liable to be disappointed. As far as the story goes, the opera seems almost as determined to spend time with the frolicking villagers ("German" peasants transposed to Scotland!) as with the doings of the vampire. The music accordingly swings between panicky strings with argumentative duets and trios, and gigantic choruses that sound like German drinking songs (and at least one really is--in Act 2). To my novice ears, then, the opera sometimes sounds like comic opera with one really melodramatic baritone villain.
The singing, conducting and sound quality are quite good, for what was obviously a poorly kept archive source. (For the first few minutes, you can hear the tape quality improving, as the outer layers of the tape reel play through.) I quite like the singer playing Malwina, Arleen Auger. Her singing is buttery and smooth to my ears, not so harsh as some sopranos.
I enjoyed the piece a lot, but in the same way I enjoy lusty Rossini or German madrigals. (Speaking of lusty, check out the be-buttocked cover painting.) But I would warn anyone looking for genuinely dramatic, scary music to be-vare. Try Verdi's Macbeth instead.
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Track Listings (11) - Disc #1