“I am surprised that Marschner’s most dramatic and melodious works, ‘Der Vampyr,’ ‘Die Judin,’ &c., have not been introduced to our more advanced musical audiences at one or other of our great operatic establishments.
“The production of ‘Der Vampyr’ was followed by that of ‘The Brigand’ at Drury Lane.”
Polidori’s tale formed the basis of a romantic opera in three acts, the libretto of which was from the pen of C. M. Heigel, and the music by P. von Lindpaintner. This was seen at Stuttgart on 21st September, 1828, and it proved a remarkable success. It was announced as being from “Byron’s famous tale,” although at this date such an attribution can hardly have deceived any.
On 25th May, 1857, there was producedin Berlin a “Komischen Zauber-Ballet Morgano” by Paul Taglioni with music by J. Hertzel. The scene is laid in Hungary during the seventeenth century, and in the sixth tableau Elsa dances an infernal lavolta with the vampires in their haunted castle, but she is rescued by her lover, Retzka, who slays the vampire Morgano with a consecrated poniard. In 1861 at Milan appeared a ballet by Rotta, Il vampiro, with music by Paolo Giorza. Outen Abend Herr Fischer! oder, Der Vampyr is a light vaudeville in one act by G. Belly and G. Löffler, with music by W. Telle, which had some success in its day. Ein Vampyr by Ulrich Franks (Ulla Wolf) given at Vienna in 1877 is a farce taken from Scribe.
In England Dion Boucicault’s[57] The Vampire, in three acts was produced at the Princess’s Theatre, London, 19th June, 1852, when the author made his first appearance before a metropolitan audience. Of this drama the following criticism, if criticism it may be called, was given by Henry Morley in his Journal of a London Playgoer.[58] It must be remembered that Morley continually shows himself extremely prejudiced and his censure must not be taken any more seriously than we regard the ill-word of many critics to-day, for example, the shrill petulant piping and the childish miffs of St. John Ervine in the sullens. Under 19th June Morley writes: “If there be any truth in the old adage, that ‘when things are at the worst they must mend,’ the bettering of Spectral Melodrama is not distant; for it has reached the extreme point of inanity in the new piece which was produced on
