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C5 0184
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C5 0184
MARSCHNER, H.A.: Vampyr (Der) [Opera] (Kaufmann, Cologne Radio Chorus and Orchestra, Froschauer)

MARSCHNER, H.A.: Vampyr (Der) [Opera] (Kaufmann, Cologne Radio Chorus and Orchestra, Froschauer)

The Classical Shop
release date: November 2013

Originally recorded in 2013

Artists:

Cologne Radio Orchestra

Orchestra

Helmut Froschauer

Conductor

Regina Klepper

Soloist

Markus Marquardt

Soloist

Cologne Radio Chorus

Choral

Venue:

WDR, FUnkhaus, Klaus-von-Bismarck-Saal, Cologne, Germany

Venue

Record Label
Capriccio

Genre:

Opera


Classical

Total Time - 128:31
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MARSCHNER, H.A.: Vampyr (Der) [Opera] (Kaufmann, Cologne Radio Chorus and Orchestra, Froschauer)

     
 

HEINRICH AUGUST MARSCHNER

     


Select Complete Single Disc for
 

Der Vampyr (The Vampire)

 
1 Overture 07:48
2 Act I Scene 1: Introduction: Ihr Hexen und Geister (Meister, Ruthven, Chorus) 05:05
3 Act I Scene 2: Recitative and Aria: Ha! Noch einen ganzen Tag! - Ha! WelcheLust (Ruthven) 06:04
4 Act I Scene 3: Duet: Teurer Eltern einz'ge Freue (Janthe, Ruthven, Chorus) 05:44
5 Act I Scene 4: Chorus: Wo kann sie sein? (Berkley, Janthe, Ruthven, Chorus) 07:12
6 Act I Scene 5: Sostenuto 02:33
7 Act I Scene 6: Aria: Heiter lacht die goldne Fruhlingssonne (Malwina) 05:48
8 Act I Scene 7: Duet: Du bist's, es ist kein Traum (Malwina, Aubry) 02:10
9 Act I Scene 8: Trio: Wie? Mein Vater? (Malwina, Aubry, Davenaut, George) 06:29
10 Act I Scene 9: Finale: Blumen und Bluten im Zephyrgekose (George, Choir) 03:39
11 Act I: Hier, malwina, ist der mann (Davenaut, Ruthven, Malwina, Aubry, Chorus) 04:41
12 Act 1: Der Priester ist bestellt (Davernaut, Malwina, Aubry, Ruthven, Chorus) 04:31
     
     
     


Select Complete Single Disc for
1 Act II Scene 10: Introduction: Munter, edle Zecher, munter, kostlich ist der Wein! (Chorus) 04:11
2 Act II Scene 11: Lied: Dort an jenem Felsenhang (Emmy) 02:19
3 Act II Scene 12: Romanze: Sieh, Mutter, dort den bleichen Mann (Emmy, Chorus) 05:22
4 Act II Scene 13: Trio: Ihr wollt mich nur beschamen (Emmy, Ruthven, George) 06:57
5 Act II Scene 14: Grosse Szene: Wohl, du zwingst mich zum Verbrechen (Aubry, Ruthven) 07:00
6 Act II Scene 15: Aria: Wie ein schoner Fruhlingsmorgen (Aubry) 05:56
7 Act II Scene 16: Duet: Leise dort zur fernen Laube (Ruthven, Emmy) 03:58
8 Act II Scene 17: Trinklied: Im Herbst, da muss man trinken (Blunt, Gadshill, Scrop, Green, Suse, Chorus) 03:31
9 Act II Scene 17: Quintet mit Chor: Endlich, ALter, find ich dich (Suse, Blunt, Gadshill, Scrop, Green Chorus) 04:48
10 Act II Scene 18: Chorus: Freuden und Leiden im irdischen Leben (Chorus) 01:43
11 Act II Scene 19: Duet: Halt ein! Ich kann es nicht ertragen (Aubry, Malwina) 05:09
12 Act II Scene 20: Finale: Blumen und Bluten im Zephyrgekose (Davenaut, Malwina, Aubry, Ruthven, Chorus) 03:18
13 Act II: Haltet ein! Ha! Nimmermehr! (Aubry, Davenaut, Malwina, Ruthven, Chorus) 05:47
14 Act II: Wie nach verderblichem wettergetose (Aubry, Ruthven, Davenaut, Malwina, Chorus) 06:48
     
 Markus Marquardt Soloist
 Regina Klepper Soloist
 Helmut Froschauer Conductor


Something demonic and ghostly fills the air: we find ourselves in the age of Dark Romanticism, which cast its shadow on the opera. The fateful drama is of Scottish origin, whose essence consists of inherited curses, dark, guilty entanglements and bloody props, in order to wake fatalistic shivers. Among the audience at the premiere performance of the "Vampire" in 1828 at the Sächsisches Hoftheater in Leipzig was 15-year-old Richard Wagner. Marschner’s opera crosses the path of the theatre novice many times. In 1833 the fledgling répétiteur Wagner in Würzburg got involved in:

"However, soon the Marschner score interested me sufficiently to make it worth while to have my bitter work published. I contributed a new allegro movement to Aubry’s tenor aria in Marschner’s  ’Vampire’, which I also wrote the text to. My resulting work was demonic and effective, registering the acclaim of the audience and encouraging recognition from my brother".

Wagner could still get worked up about the "loathsomeness of the thematic“; even Hans Pfitzner had to placatingly defend and emphasise the ’gruesomeness’ of the text, the ’shivering’ was the "best part of Marschner’s music". Edgar Istel also captured his theatrical impression in creepy gothic words: "Whoever saw how the once-bitten vampire returns to life rises up by moonlight to the sounds of Marschner’s ghostly music, they will never forget this impression."

 

 "... The plum role in this opera is that of Lord Ruthven, sung here by baritone Franz Hawlata. he has a pleasant voice... it is he who really makes this opera work - along with conductor Froschauer, whose exemplary skills keep things moving and bind the music about as well as can be expected... If Vampyr is your cup of tea, this is a good recording of it to aquire."

Lynn René Bayley - Fanfare - March/April 2014




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