This opera has all the makings of great post-Wagnerian archetypal drama without falling into the trap of overstated pathos or wretchedly excessive musical filigree. Though composed in the high German tradition, the pared-down quality of Franz Schreker’s orchestration–only the essentials–and his mostly syllabic vocal writing owe more to Debussy than to someone such as Richard Strauss, though this influence might not be apparent even from a close listening. Nevertheless this is a piece about musical beauty (in some ways, mostly due to the character of the Minstrel, this is music about music, though not as much as Ariadne or Meistersinger) and Schreker does deliver the goods. Though there are some cheap (but somehow forgivable) textual tricks (a deceptive cadence on the German word for “deludes”, stately horns when the troops return from war, lush strings that always surround the word “balmy”), the music effectively outlines the seamless dramatic flow.
The plot is simple: Husband has gone to war, wife waits with his sister for his return, minstrel falls for said wife after seeing her from afar, wife declares love for minstrel (despite sister-in-law’s protestations). Unfortuitously, husband returns, chorus hails his victory, wife drinks a goblet of poison and dies leaving one dead, others crumpled and weeping. It’s melodramatic expressionist folderol, but it works; it has its own logic.
The flawless and emotional performance of Manuela Uhl as Irmgard the “abandoned” wife is the high point of this disc; not just for the clean and clear high notes, but for her fantastic acting (a performance so powerful you even can hear it on a recording). The rest of the cast is good, but no match for Uhl. Robert Chafin as the Minstrel is sly and effectively overblown, and Jörg Sabrowski is stately as the returning Prince. The only weak link is Heike Wittlieb as the concerned sister, whose voice is too heavy for the role. Under these dynamic singers is the expert accompaniment of the Kiel Philharmonic Orchestra, navigated through the score’s complex turns (both technical and emotional) by Ulrich Windfur. The biggest drawback to this recording is that it is obviously live, complete with all-too-apparent footfalls and rolling stage sets. Though Schreker is not a complete unknown, he enjoys precious little in the way of a recorded legacy, so apart from being interesting listening, Flammen will help carry the banner for this sadly neglected composer.
