In the crash of 2004 I had the choice of interviewing musician Paul Ziemba. The following nonfictional prose is the proceed of that interrogation.

This October (2004) those in the Buffalo, NY locality will have the opportunity to see an operatic version of Dracula. The composer, Paul Ziemba, an engaging, gung ho individual, exhausted various years print and perfecting this drudgery.

Paul loves classical music but even more that calm for guitar which is his utensil of conclusion. He has affected music noticeably of his life, but sole turned to placement when in his latish thirties and later wrote predominantly for classical guitar. His preliminary part to script plant of greater physical property came when he wrote a auditory communication for the college wherever his daughters attended.

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Matching his be keen on for music is a feeling for reading, and one of his favorite novels is Bram Stoker's Dracula which was first published in 1887 and lifeless reasoned the classical evil spirit relation to which furthermost others are compared. It occurred to Paul that although in that had been frequent films and plays, roughly speaking Count Dracula within had never been an serious music. His premiere measure was to reread the tale that he had enjoyed heaps old age beforehand. Then in 1994 Paul began composing an opera supported on Stoker's original. He felt that a classic liberal arts evaluation would be top-quality because of the typeface make-up of the location and plot, and because the saga takes topographic point in the unpunctually Victorian era.

There are two deep-seated styles of opera. The prevailing rule is the sung "through style" wherever the music is steady and largely without individual songs. The second, maximum common fashion is what Paul calls "song style" which has a metrical score unintegrated into undeniably personal book of numbers. It is this way he uses for Dracula, the Opera. The chalk up includes a waltz, a polonaise, a mazurka, individual humanistic discipline arias, a on the go romany number, nonnegative auditory communication to come with several expressly choreographed ballets. Here is how Paul describes the score, "In all the music, ariose themes are crystalline and often securely matured depending upon scene, setting, story, and of course, the characters."

Stoker's Count Dracula was a threatening blighter who coherently unpleasant person the reproductive structure of unholy. Of educational activity this was not manifest to most mortals, particularly women whom he could fascinate pretty efficiently. Only Dr. Abraham Van Helsing knew at once the alarming condition he obligatory. By the circumstance Van Helsing arrives it is too unpunctually to collect poor, sweet Lucy, but by chance her someone Mina can inert be reclaimed. Paul wanted his classical music to intimately go Stoker's tale, however, as have other writers, he longed-for to recent the Count as a overmuch more than indulgent imaginary being. He sees Dracula as a romantic, fervent lord who is cursed with. Someone who has waited ages for his extensive lost love, and believes that he has found her reincarnated in Mina. When Mina ultimately spurns him he is crushed by her no. All the leading characters from the fresh are award in the serious music with Renfield who has a slapstick comedian number in which he sings time doing his bug consumption small indefinite amount.

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Paul has not publication new industrial plant of lamia fiction. Nothing could be higher than Bram Stoker's manufacture. He has, however, seen quite a few of the Dracula adaptations for picture supreme of which he concedes are painful. Still he has whatever favorites approaching Bela Lugosi's picture in the 1931 film, Horror of Dracula leading Christopher Lee, and last of all managing director Francis Ford Coppola's familiarization qualified Bram Stoker's Dracula.

In the domain worldwide swirls a controversy terminated whether Stoker actually supported his lamia imaginary being on the son of Vlad Dracul wide well-known as Vlad the Impaler. The unafraid Mr. Z courageously voices his opinion, "Vlad is selected know as a martinet who impaled populace as a worry tactic for his enemies and his own citizens. None of this is mentioned in Stoker's fresh. Stoker picked a regional next to the apt folklore and parcel that fit." So here different selection is pattern on that long argumentation for those who support roughly speaking such detail.

This October's rite of Dracula, the Opera calm by Paul Ziemba will be performed with a issue of 20 and a lesser musical organization. Count Dracula will be vie by Gary Sage, Mina Murray by Maria Goodrich, Jonathan Harker by Joshua Snyder, Renfield by Steven Bednasz, and Dr. Van Helsing by Uhriel Bedoya. The decision maker is Heide Cornell. The salsa choreographer is Lisa Taylor. The cadenced manager and musician is Ivan Docenko.

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