This piece was interesting. I took an interest in this opera not because it was contemporary, but rather because this is one of those operas that seems to be rarely performed nowadays. So when it appeared on the schedule of the Deutsche Oper Berlin, I opted to get a ticket.
This opera presents a shimmering, slightly decadent world. It sits right at the intersection of late-Romantic opulence and psychological Expressionism. I honestly haven't heard of Schreker before, which is perhaps not surprising given what has happened to him. Apparently, he was, for a time, the most performed opera composer in the German-speaking world, rivaling even Richard Strauss, before his music was suppressed by the Nazis due to his Jewish ancestry.
The setting is a legendary, medieval kingdom, although the atmosphere is more Freudian than "fairy tale." At least that is the original setting. The staging which I saw modernised it quite a bit, putting it into the 1920s. So instead of magical, it became more magical-realistic. I mean, there's jewels with magical powers, after all. There is Elis, a wandering minstrel with a magic lute that can find hidden treasure. And confusingly, there is also Els, the innkeeper’s daughter, a complex "femme fatale" who doesn't want to get married, and has a deadly habit of having her suitors murdered after they gift her stolen jewels. There is the King, who is a weakened ruler desperate to find the Queen's lost jewelry to restore her beauty (and his kingdom's fertility). And finally, there is the Fool, who is the King’s advisor who suggests using Elis to find the jewels. Elis has a lute which vibrates whenever it is nearby jewels, after all.
The opera opens with the Queen losing her jewelry, and with it, her youth and the land's prosperity. The King’s Fool suggests seeking out Elis, a minstrel whose magic lute vibrates when near gold. Meanwhile, at an inn, Els is being forced into a marriage she loathes. She has her servant murder the groom-to-be (not her first time). When Elis arrives, he and Els are instantly drawn to one another. Els is terrified that Elis’s magic lute will reveal her crimes (specifically, the stolen jewels she has amassed from her dead suitors). To distract him and the court, she steals the lute. When the jewels are not found, Elis is accused of the theft/murder and sentenced to death. The Fool intervenes, saving Elis from the gallows so he can find the jewels. Els, realizing she loves Elis, gives him the Queen's jewels on the condition that he never asks where they came from. They share a night of intense, ecstatic passion. Elis returns the jewels to the King, and the Queen’s beauty is restored. However, during the celebration, the truth about the murders and the theft comes to light. Els is condemned, but the Fool claims her as his "reward" for helping the King, saving her from execution. One year later. Els is dying in poverty, cared for only by the Fool. Elis returns to her. He plays his lute one last time, weaving a beautiful song that masks the grim reality of their situation, allowing Els to die in a dream-like state of transfiguration.
I suppose in the original setting, this had a medieval flair to it, but as it was staged with early 20th-century costumes, it definitely gave me a magical realistic feel to it. I thought that was a positive twist.
Musically, Schreker uses a massive orchestra but treats it with chamber-like transparency. There is frequent use of the harp, celesta, and piano to create a "halo" of sound. It’s less about "tunes" and more about atmospheres. While it remains rooted in tonality, it is constantly "fraying" at the edges. He uses bitonality to represent the dual nature of Els: innocent lover vs. cold-blooded instigator. The magic lute isn't just a prop; it has its own distinct musical fingerprint—a series of rising, shimmering chords that sound almost like an electronic shimmer. The role of Els is demanding, as it requires a dramatic soprano capable of both lyrical warmth and jagged, expressionistic outbursts.
Apparently, when this opera appeared in 1920, it was a success. However, in 1933, the Nazi regime labeled Schreker's music as "degenerate", and he was forced into obscurity, dying shortly after. The opera was largely forgotten until the late 20th century. Modern audiences now consider it as a bridge between Wagner and the avant-garde.
Personally, I have to say that I enjoyed it, perhaps as another entry in experiencing music history. The lushness feels "pre-WWII" for my taste, however, I thought that seeing this opera is essential for understanding where modern masters like George Benjamin get their sense of "orchestral light." It is a masterclass in how to use an orchestra to paint the invisible layers of the human psyche.
