Victorian Opera Northwest recording of Wallace's Lurline

Lurline

A Grand Romantic opera by William Vincent Wallace (1812-1865)

Please note that the recording of Lurline to be conducted by Richard Bonynge is scheduled for 2009.
If you are interested in taking part or in assisting in any way, please contact us.

Inspiration for this opera came to Wallace whilst travelling in Germany in the 1840s. The Loreley legend of a siren of the Rhine who lures fishermen into treacherous waters was well known at the time. A prominent rocky outcrop on the Rhine called the Lorelei Rock exists to this day in memory of the water sprite legend. The story had previously given Mendelssohn inspiration for his Loreley composition (opus 47) left unfinished at his untimely death in 1847. Wagner also touches on the same idea in Der Ring.

Lurline was commissioned for the Paris Opera in 1848 and would have been presented as Loreli or La Fille du Rhine had Wallace not become ill with an eyesight problem. This was a time when fairies and supernatural beings were popular talk over Europe. With words by Edward Fitzball, it was later staged in Germany as Loreley in 1854 before being revised and presented in London at Covent Garden on 23rd February 1860 by the Pyne–Harrison Opera Company.

Lurline was afterwards taken to Dublin(1861), Sydney(1862) and America(1863). The audiences enjoyed the performances to such an extent that they declared it superior to Wallace’s highly popular Maritana (1845). The opera grew in popularity when it toured Britain from the 1880s, first with the Carl Rosa Opera Company, and later with the Moody Manners, and afterwards with James Turner Opera Companies after 1890.

The plot

Lurline, Nymph of the Rhine, lures fishing boats to a dangerous whirlpool in the river with her enchanted harp and her singing. She has fallen in love with the extravagant, penniless Count Rudolph who lives in a riverside castle. A wedding is planned to a wealthy baron’s daughter, Ghiva who it is hoped will restore the empty castle coffers. Lurline appears at the castle banquet and under a trance places a magic ring on Rudolph’s finger before disappearing. Entranced by this beautiful apparition, Rudolph follows her to the banks of the river to sounds of the fairy harp; his guests following. Hypnotised, they are overcome by tiredness. Rudolph drops asleep on a nearby rock, which sinks into the Rhine.

In coral caves under the river, we find Lurline, with nymphs and her father King Rhineberg. A gnome is told to watch over Lurline and keep guard of Rudolph. Rudolph, who has escaped death by virtue of wearing the talismatic ring, is awoken by Lurline. Rudolph hears his friends in a boat above singing a requiem. He asks to rejoin them briefly. Lurline agrees and arranges to meet him at the rising of the moon on the third evening. At Lurline’s request, the King grants the poor Rudolph some of his gold to take with him.

Rudolph appears at the castle laden with treasures, much to the surprise of the Baron and Ghiva. Ghiva realizing Rudolph’s infatuation to Lurline, and fearing her loss, decides to steal the enchanted ring and cast it into the Rhine. Rudolph finds his ring stolen, but by the gnome (instead of Ghiva) who returns it to the sad Lurline as evidence that she has been overthrown.

Lurline appears at the castle asking for the ring, and denounces the treachery of his greedy friends. The baron and Ghiva now warn Rudolph of a plot to destroy him. The faithful Lurline seizes her harp and leads the evil crew by the spell of her music to their drowning.

Commentary

In Lurline, there is an important change of style from Maritana, in that it is through-composed. It has a strengthened chorus, soloists and orchestra to produce grander scenes. Critical comment surrounding the London performances suggested that the Germanic theme removed all English connection, and as a result was disappointing. A drinking chorus ‘Drain the cup of pleasure’ has appeal in the Verdian style and the Postman’s song conveys the familiarity of a Rossini buffa aria. The ensemble, ‘Ah! dare I hope’ is so animated, it could provide the character and stage business of a complete opera by Balfe. Lurline is punctuated with the ballads expected by the audience but it adds moving songs with a strong touch of passion and feeling, as in as ‘Sweet form that on my dreamy gaze’. Wallace’s score carries undercurrents of Weber, as did Maritana, with an effective characterization of the swirling waters of the Rhine. There is an influence of Mendelssohn, as well as an endearing characteristic style that is essentially his own.

Wallace’s skill as an orchestrator is strong. The inclusion of occasional ballads (fashionable still for the time) is effective, but in providing this he never overshadowed those of Balfe. Wallace, however, was skilled in writing songs of surprising passion as evidenced in this score.

The librettos for Lurline (and for the The Amber Witch) are available from Raymond Walker, Chairman of Victorian Opera Northwest. Please contact Raymond at raymondwalker@talktalk.net .