YOU CAN’T TRUST WOMEN OR CATS…

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

When the opportunity to review Der Vampyr came up as part of the Grimeborn Opera festival, I wasn’t sure what to expect but on the promise of it being a ‘Gothic Opera about vampires’ I was already sold. I love a bit of opera drama, and as a queer woman I have wasted many an hour in the world of vampires (and not just the smut romance novels, dear reader, for I am cultured, I am a critique…and most of all, I am demure.) The thought of combining both flavours for an evening was a delightful thought so off I went in completely uneducated on what to expect and I wasn’t disappointed.

Quick research revealed that Gothic Opera’s production of Der Vampyr (The Vampire) made waves with its sellout run and Off-West End Award nomination in 2019. It is in fact a build upon Heinrich Marschner’s 1828 Der Vampyr. A rarely performed opera (until now!) It was an adaptation of John Polidori’s short story ‘The Vampyre’ released in 1819. Founded in 2019, the female-led Gothic Opera has quickly established itself as a company that breathes new life into rarely-performed operatic works, drawing inspiration from the eerie and unsettling world of the Gothic and supernatural. I’m into what they are selling.

So how does this company make an opera from nearly two centuries ago feel fresh and fun for a modern audience? The Opera is reimagined through a modern lens, and delves into powerful themes such as consent, agency, and the destructiveness of toxic masculinity … .and before any one in the cheap seats groans (feminism, eurgh!) It’s actually really rather clever and very, very funny. The entire cast are having fun and delivering lines which made me, who was honestly having rather a rotten week, belly laugh…yes, belly laugh at the opera. It was bloody fantastic.

Giuseppe Pellingra as Ruthven, the ‘Der Vampyr’ of this story performed their role with a glint in their eye, great comedic timing and a menacing sexuality that was would delight anyone who loves a bit of vampire sexiness in their life (Anyone who is on Tiktoks ‘Booktok’ will know that this is a larger number than one would imagine) his voice was also next level! Milena Knauß as Malwina not only has a pitch perfect voice but her performance was humorous and horrific (In the best way possible) in equal measure. The Vampire ‘Master’ was gender swamped for a snazzy ‘Mistress’ with Gráinne Gillis who delivered a creepy and hilarious performance whilst Jack Roberts as Aubrey, Malwina’s love interest provided us with ‘hero’ of piece but in this translation the hero is as strong and heroic as a roasted petal – but damn, he can sing! The entire cast was just brilliant.

Not to spoil the ending but it is certainly unexpected and kinda cathartic…The opera was performed in German with subtitles and the play between the singing was performed in English, so it was accessible to everyone. Directed by Julia Mintzer and conducted by Kelly Lovelady, I will certainly be seeing other performances from this company, as Der Vampyr was a devilish delight.

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⭐⭐⭐⭐ A completely different type of opera than I am used to and perfect for people new to the genre.