The Vampire Reviews

Vampire Review - Eric Dare, January 2012 issue of Opera Magazine

Duchy Opera at the Burrell Theatre, Truro, October 25

Yet again Duchy Opera has given Cornwall something refreshingly new – remember its 2006 centenary production of The Wreckers? With the innovative Keith Sparrow, who updated The Merry Widow last season, we were assured of an entertaining evening with Heinrich Marschner’s The Vampire.

In this Faustian gothic plot, the Earl of Marsden in his alter ego, Ruthven, is condemned to kill (‘bite’) three maidens. After he has killed his first victim, Janthe, his friend Aubry discovers Marsden’s true nature but is sworn to secrecy; they become rivals for the hand of Malwina, but her father, Davenaut favours the Earl. At a village wedding, the Vampire seduces another girl and kills her prior to his own wedding. At the last moment, Aubry, ignoring his vow, unmasks Marsden as the Vampire – who is dragged to hell by demons, while Aubry wins his love.

The company recruited a fine group of singing actors.  Philip Cade was a superb Vampire; David Webb a convincing hero for Malwina (Elinor Chapman). Their duets in both acts were among the musical highlights. John Beazley as Malwina’s father added the necessary gravitas both in manner and voice; while Phillippa Lusty took the roles of the two victims, Janthe and, on the second occasion, Emmy, who was plausibly seduced to the despair of her fiancé, George (played by the director himself, Keith Sparrow).

The libretto was rewritten by Sparrow and the music director; as Sparrow pointed out in his splendidly produced programme, it was an actual vampire hunt in Glasgow’s Gorbals in 1954 that inspired his setting of the opera - a simple but adequate design for touring. It inevitably brought us close to the performers, though it might have gained in atmosphere had we been more remote.

Marschener, Germany’s leading operatic composer when he wrote this once-popular work in 1828, obliged with a number of enjoyable ensembles and plenty for the impressive chorus. A pity we had to do without strings – well suited to creating ghostly atmosphere - but the five-piece orchestra, scored and conducted by the company’s music director Paul Drayton, provided adequate support for the singers.

Eric Dare

Vampire Review - Lee Trewhela, The West Briton

'Bloody Good Opera'

THIS season's production couldn't be more different than last year's frothy, fun version of Lehar's The Merry Widow.

Therein lies the success of Duchy Opera – a company which refuses to rest on its laurels, is eager to experiment and keen to attract a new audience to the world of opera.

Barring a little too much scene-setting smoke, which set off Truro School's fire alarms ten minutes into the show causing an evacuation, this was a stark production with the look of a camp 1920s silent horror film.

Keith Sparrow is a bit like Little Britain's Dennis Waterman who "wrote the theme toon, sang the theme toon". A jack of all trades, Keith directed, designed, put together the impressive programme and even appeared as a husband-to-be who loses his bride to the vampire and, if that wasn't enough, he was one of the demons too.

He certainly brings something new to what could be argued is a staid and old-fashioned musical form. Who's seen an opera that begins with an animated Vampire Master laughing manically from above?

The story, in short, sees Ruthven the Vampire being given 24 hours, by said cartoon ghoul, to slay three young brides in 1950s' Gorbals (updated from the original German setting of 1828) in order to gain one more year of living. Philip Cade occupied this role with relish; calm and calculating when charming his victims, exploding in fury when his plans are thwarted – and what a voice.

The standout for me was Cornish singing star-in-waiting Phillippa Lusty, innocent and demure as Ruthven's (or the Earl of Marsden in his other guise) first victim Janthe and then living up to her surname as sultry Emmy, murdered on her wedding day. Alluring and with a beautiful soprano voice, one wishes Phillippa well with her singing career in London.

The charm and humour in the work, which musically isn't that memorable, came from the delightful chorus. Though their accents wavered so much it was hard to tell whether this was Glasgow, Giggleswick or Golant.

Elinor Chapman, with a voice so powerful it could possibly shatter glass, played Malwina, saved from being Ruthven's third victim by her true love, Edgar Aubry (David Webb). David deserved a medal for battling on after a nasty cough threatened to derail his delightful tenor – thankfully the vocal cords won.

The other winners were musical director Paul Drayton – does this man ever stop working? – and musicians Sarah Hanley, Jess Robinson, Jacqueline Kershaw, Naomi Johnston and Anthony Trodd, who brought the fairly light score to life.

Duchy Opera managed to take a bite out of a little-known work and instead of killing it off, breathed new life into it.

NEW CHORUS MEMBERS WANTED

Duchy Opera are looking for new chorus members to join us from January 8th to work towards a number of concerts and special events, including a planned charity evening of opera at the Minack theatre on May 6th to raise funds for the Cornwall Community Foundation. We will also be working on our next main production, as well as our our new opera for all ages, The Mermaid of Zennor.

If you are interested in performing new and exciting opera productions and concerts with us, why not come along to a Sunday night rehearsal in January?

The Chorus of Duchy Opera rehearse regularly between 7-9pm at Tresillian Village Hall, just outside Truro. New members of all ages are always welcome and may be subject at some point to an informal audition with Paul Drayton. This is to enable him to get an idea of individual voices and strengths. Reading music is useful but not essential, but an enthusiastic and focussed approach to learning is a must! We are particularly keen to work with young and developing talents to bring on the next generation of opera stars.

STUDENT OPPORTUNITIES

Duchy Opera have a busy and active educational programme, and we are looking for University and College level students who are interested in youth and school work, who may want to get involved in our successful School Run outreach team. If this sounds like you, please email education@duchyopera.co.uk for further details.

We also welcome contact from students interested in behind-the-scenes creative roles, such as costume and set design, photography etc. Last year we worked with a UCF photography student David Maynard and Tremough dance student Meghan Carney, and this year we have another UCF graduate, Ami Grinstead working with us on costume.

Opera productions offer a wealth of opportunities for students to gain experience in the performing arts, so please feel free to contact us for further information.