Which, say, three operas do friends think show him at his best, and why?
The first recommendation would have to go to
Die Gezeichneten. A good introduction to the music would be initial acquaintance with the
Prelude to a Drama, Schreker's extended version of the opera's Prelude (also incorporating music from Act III). The melodies are strongly defined and highly memorable, whilst the orchestration (with the composer's characteristic glimmering sonorities) is astoundingly virtuosic. As a drama, I think that
Die Gezeichneten is the most absorbing of Schreker's stage works - although most of the characters are pretty repulsive, they are keenly drawn in the music and the whole tale sweeps along towards a highly dramatic conclusion. The Salzburg DVD is fascinating and beautifully sung, but I would prefer a colourful Renaissance setting as envisaged by the composer. On disc, the Zagrosek peformance is the one to go for as it is uncut.
Next, I would suggest
Der ferne Klang. This sprawls a bit and is more low-key in terms of the synopsis, but the score is full of wonderful touches, the highlight being the incredible multi-layered second act set in "La casa di maschere" (essentially a bordello). To give an idea of Schreker's innovation, here is what the composer himself wrote:
"The following scenes - it is unimportant whether they are more or less intelligible - should be played and spoken with animation and the various sounds which penetrate through to the stage (the singing from above, the gypsy music, the music from the gondolas, the count's serenade) should mingle in such a way that the listener receives the most realistic impression possible of the setting and very nearly has the feeling that he himself is in the midst of this commotion".
I was lucky enough to attend the 1992 Opera North British premiere of the opera and, heard live, this act is one of the most amazing experiences I can remember.
Next in line would be either
Der Schatzgraber or
Der Schmied von Gent. The former has a beautiful score and the tale of stolen jewels and murders is absorbing, but a better recording is needed. The only available one has cuts and the soprano playing Els (Gabriele Schnaut) is pretty squally - nevertheless it is a tribute to the opera that it can withstand these problems.
Der Schmied von Gent is Schreker's final work. After the experimentally pared-down orchestrations of
Der singende Teufel and
Christophorus, Schreker's virtuosic writing returns with a vengeance - there are extended interludes, dances and pantomimes. Scenes are structured on canons and fugues and the chorus is more prominent than in any other of his works. It is described as a Zauberoper, and with it's scenes of Heaven and Hell, is a folk-tale elevated to spectacle. CPO's intention to issue the Chemnitz performances on disc is noted in numerous reviews.
The best possible introduction to Schreker's style would be through Chandos' first volume of orchestral music (
http://www.chandos.net/details06.asp?CNumber=CHAN%209797) which contains extended concert-versions of music from
Der ferne Klang,
Der Gezeichneten and
Der Schatzgraber. The performances and sound are first-rate.
