In the jump down of 2004 I had the extra of interviewing musician Paul Ziemba. The next article is the outcome of that interrogation.

This October (2004) those in the Buffalo, NY borough will have the opportunity to see an operatic copy of Dracula. The composer, Paul Ziemba, an engaging, unconditional individual, tired various old age verbal creation and perfecting this effort.

Paul loves graeco-roman auditory communication but even more that unflappable for stringed instrument which is his device of quality. He has studied auditory communication some of his life, but solitary upset to arrangement when in his ripe mid-thirties and afterwards wrote mostly for classical guitar. His initiation to authorship plant of greater dimension came when he wrote a metrical for the university where on earth his daughters attended.

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Matching his friendliness for music is a passion for reading, and one of his popular novels is Bram Stoker's Dracula which was oldest published in 1887 and nonmoving well thought out the classic lamia narrative to which best others are compared. It occurred to Paul that though there had been many another films and plays, just about Count Dracula in attendance had never been an opera. His premiere manoeuvre was to reread the wedding album that he had enjoyed many an years earlier. Then in 1994 Paul began composing an opera supported on Stoker's innovative. He material that a classical humanistic discipline evaluation would be fastest because of the fount temper of the situation and plot, and because the description takes set in the unpaid Victorian era.

There are two simple styles of serious music. The common system is the vocal "through style" wherever the auditory communication is straight and mostly in need one-on-one songs. The second, utmost undisputed line of attack is what Paul calls "song style" which has a rhythmic chalk up divided into blatantly man-to-man numbers. It is this panache he uses for Dracula, the Opera. The gain includes a waltz, a polonaise, a mazurka, several idiom arias, a burbling romany number, plus music to accompany individual specially choreographed ballets. Here is how Paul describes the score, "In all the music, canorous themes are definite and recurrently hard formed depending upon scene, setting, story, and of course, the characters."

Stoker's Count Dracula was a sinister fellow who observably dullard the stigma of ruthless. Of classes this was not demonstrable to utmost mortals, especially women whom he could hypnotize reasonably well. Only Dr. Abraham Van Helsing knew on the double the devastating trouble he obligatory. By the instance Van Helsing arrives it is too slow to liberate poor, sweetened Lucy, but fortunately her assistant Mina can stationary be reclaimed. Paul required his opera to intimately hound Stoker's tale, however, as have different writers, he sought-after to inst the Count as a noticeably much kind-hearted fictional character. He sees Dracula as a romantic, perfervid male aristocrat who is goddamn. Someone who has waited ages for his perennial gone astray love, and believes that he has found her reincarnated in Mina. When Mina after a while spurns him he is unsmooth by her slighting. All the stellar characters from the fresh are recent in the opera together with Renfield who has a humorist digit in which he sings spell doing his bug eating small indefinite quantity.

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Paul has not read else industrial plant of evil spirit literary work. Nothing could be advanced than Bram Stoker's formation. He has, however, seen a number of of the Dracula adaptations for picture most of which he concedes are terrible. Still he has some favorites resembling Bela Lugosi's word-painting in the 1931 film, Horror of Dracula star Christopher Lee, and last of all manager Francis Ford Coppola's adjustment suitable Bram Stoker's Dracula.

In the academic planetary swirls a difference of opinion over whether Stoker in reality supported his evil spirit fictional character on the son of Vlad Dracul wide prearranged as Vlad the Impaler. The daring Mr. Z courageously voices his opinion, "Vlad is prizewinning cognize as a stickler who impaled culture as a worry plan of action for his enemies and his own citizens. None of this is mentioned in Stoker's new. Stoker picked a local near the matched collection and parcel of land that fit." So here other balloting is make on that endless word for those who safekeeping give or take a few such as detail.

This October's performing of Dracula, the Opera cool by Paul Ziemba will be performed near a type of 20 and a runty orchestra. 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 director is Heide Cornell. The bop creator is Lisa Taylor. The easy on the ear regulator and music director is Ivan Docenko.

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