William Vincent WALLACE (1812-1865)
Lurline - A Grand Legendary Opera in three acts (1860)
Keith Lewis (tenor) - Rupert (a young Nobleman); Paul Ferris (tenor) - Guilhelm
(his friend); David Soar (bass-baritone) - Rhineberg (The River King); Donald
Maxwell (baritone) - The Baron Truenfels; Roderick Earle (bass) - Zelieck
(A Gnome); Sally Silver (soprano) - Lurline (Nymph of the Rhine); Fiona Janes
(mezzo) - Ghiva (the Baron’s Daughter); Bernadette Cullen (mezzo) -
Liba (a Spirit of the Rhine)
Victorian Opera Chorus and Orchestra/Richard Bonynge
rec. Cosmo Rodewald Hall, Martin Harris Centre, University of Manchester,
England, 27-28 June 2009. DDD
NAXOS 8.660293-94 [74:58 + 75:25]
William Vincent Wallace may not be a household name to today’s music-lovers
but from 1845 until the end of the 19th century he was very popular
as an operatic composer. He is not completely forgotten, however, and I knew
at least an excerpt from his first opera, Maritana, from a Joan Sutherland
record. On Marco Polo there is also a complete recording of the opera. Excerpts
from Maritana coupled with music from a couple of other roughly contemporaneous
British operas are available on EMI and on the Australian label Melba Deborah
Riedel sings several Wallace arias plus others by Balfe, Faraday and Sullivan.
Ms Riedel was scheduled to sing the role of Ghiva on the present recording
of Lurline but died before the project could be carried through. The
recording is dedicated to her memory.
The libretto is based on the legend of Lorelei, the 132 metre high rock on
the eastern bank of the Rhine. In Heine’s poem Die Lore-Ley a
kind of siren sings from the outcrop and distracts shipmen so that they crash
into the rock. In this opera she falls in love with a human being, a young
nobleman. When the River King hears this he knows that this will lead to her
death. How the story ends I won’t reveal, which is a sneaky way of forcing
readers to buy these two discs to find out.
And it is worth the moderate costs, since the music is wholly agreeable and
the singing and playing, despite some blemishes, on a quite high level. The
performing edition is by Richard Bonynge, who has done great things in dusting
off long-forgotten operas and giving them a new lease of life. One can at
once in the long overture hear that Wallace was a skilled orchestrator. The
opening is an atmospheric description of a moonlit night on the Rhine, but
the music becomes both lively and dramatic. When the imaginary curtain rises
we are exposed once more to a serene and beautiful orchestral introduction,
which is also woven into the recitative that follows and sung at the end before
the aria.
So what does the music sound like? The easiest way of describing it is to
see it as a forerunner of Sullivan. In a blindfold test I am sure many listeners
would believe some of the melodies to be from one of the Savoy operas. Ingratiating
and easy to hum they could comfortably command a place in any programme of
light opera and operetta. What is missing is perhaps the tongue-in-cheek quality
of some of Sullivan’s best creations and the glint in the eye. On the
other hand the story doesn’t exactly cry out for such qualities. There
are also several rousing choruses that remind me of G&S and the act finales
are skilfully structured to rise to slap-up climaxes. In particular it is
in the second act that Wallace’s inspiration flows at its richest. Take
the opening chorus (CD 1 tr. 19) or the Sullivanesque Chorus From his Palace
of Crystal (CD 1 tr. 22). Rupert’s aria Sweet form (CD 1
tr. 23) is lovely and somewhat later Ghiva’s song Gentle Troubadour
(CD 2 tr. 2 is catchy. Rhineberg’s The nectar cup may yield delight
in ¾ time (CD 2 tr. 5) is another hit. No wonder it was such a success
in the 1860s.
Act III also has several highlights. Rupert’s ballad (CD 2 tr. 13) again
recalls G&S and Lurline’s Grand Scena (CD 2 tr. 18) should be a
dream number for any high soprano. The prayer, in particular, is noble and
beautiful. The final scene opens with a riveting chorus (CD 2 tr. 22) followed
by a long duet between Rupert and Lurline. In the ensemble that concludes
the opera Lurline returns to her opening solo in act I but now heavily embellished.
Sally Silver in the title role has a bright lyrical voice, sailing effortlessly
up in the highest reaches of the soprano register. She negotiates the coloratura
passages with supreme ease. Hers is a most sensitive reading of a role that
is both other-worldly and deeply human. Veteran Keith Lewis, best known perhaps
as a stylish Mozart singer, makes the most of Rupert’s role, nuanced
and sensitive, but today his beautiful voice is afflicted by a disfiguring
wobble on sustained notes. This is, however, compensated for by his ravishing
pianissimo singing. The end of his air (CD 1 tr. 23) is excellent proof of
his ability. David Soar is a powerful and intense Rhineberg but slightly strained
at times. Donald Maxwell, another veteran, is a splendid Baron Truenfels and
even better is Roderick Earle as the Gnome. Try CD 1 tr. 27 for proof. Fiona
Janes is a vibrant and expressive Ghiva. The orchestral and choral forces
are splendid under Richard Bonynge’s experienced leadership.
There is a synopsis in the booklet but the libretto - including the original
stage directions shown in the 1860 libretto - can be bought separately. See
below.
Victorian Opera Northwest, which ‘was formed to promote the excellent
music found in the operas and operettas of forgotten 19th
Century British and Irish composers has certainly lived up to their aim. Together
with Naxos they have enriched the operatic CD-catalogue. Maybe not a dramatic
masterpiece but all lovers of 19th century opera, and lovers of
good melodies should hasten to add this set to their collections.
Göran Forsling
This CD Commemorative libretto booklet is available at £3 (includes
UK p&p) from 6 Lindow Fold, Wilmslow Cheshire SK9 6DT
with chq. made payable to 'Victorian Opera'. Overseas readers should e-mail
Raymond Walker raymondwalker@talktalk.net
for costings.
Lovers of good melodies should hasten to add this set to their collections