Marschner's Vampire by Botstein

[edurban]

May Botstein live forever and conduct ASO until his dying breath...next season he promises Marschner's marvelous opera Der Vampyr at Carnegie (3/17/13). 

Not as many 19th century unsungs next ASO season as usual, but there is von Herzogenberg 1 on a program (1/25/13) shared with Dvorak 4 and Brahms 4.  One doubts the reviews will be very kind to HvH when the program is entitled "What Makes A Masterpiece?" and it is pretty much obligatory around these parts for 'critics' to begin all reviews of unsungs with the phrase "Of course, it's no masterpiece..."

David

[JimL]

I've always had a soft spot for Dvorak 4.  Of course, it's no masterpiece...

[edurban]

Very successful Der Vampyr at ASO this afternoon.  Good cast: Malwina best, Lord Ruthven, (the vampire) expressive, especially in his lyrically music, but underpowered in the hectoring parts (of which there are plenty.)  The Pfitzner version was used, with Wagner's cabaletta for Sir Aubrey making an appearance.  ("It didn't sound like Wagner,"said an elderly music-lover behind me, nor did it, but her companion explained that in 1833, "Wagner was a work in progress." )  Just the thing to take two disconsolate Spurs' fans minds off the Fulham loss earlier in the day, but really a good day for Marschner, as a general discussion took place behind us in the elevator on the way down to the lobby with 6 or 7 people agreeing that Der Vampyr would be a hit at the Metropolitan opera.  I would agree, especially if Edward Gorey were still around to design the production...

It's a very self-assured work, not equal to Hans Heiling, but remarkably consistant and full of good music.  Weber, of course, is the dominant influence, but for us fans of unsungs, plenty of Spohr and Lortzing (though the comic opera influences could run both ways as Marschner was born in 1795).  Very nice to note the hand of Spontini, whose influence in Germany after his Paris years is easy to underestimate.  The tune at the end of the superb trio in Act 2 is pure La Vestale, but immediately morphs into Weber for the coda.  A fascinating opera from a very transitional period.

David

[Mark Thomas]

Thanks, David. Your report whets my appetite enough to dig out my old recording of Der Vampyr and qdd it to my "must listen to" pile.