Das Gespenst von Canterville

Michael Frowin (based on Oscar Wilde's novel)

2(I=picc,II=afl).2(II=corA).2(I=Ebcl,II=bcl).2(II=dbn)-2.1.2.0-timp.perc(2):tgl/ant.cyms/BD/chains/windmachine/thunder.sheet/tam-t/t.bells/marimba/vib;tgl/cyms/SD/tam-t/ratchet/tamb/t.bells/glsp/xyl-hp-pft(=cel)-hpd(=cel)-strings(6.6.5.4.3)

For some 400 years, as demanded by his dignity as a specter, castle ghost Sir Simon has haunted Canterville Chase, even if the castle is meanwhile delapidated, and only the housekeeper, Mrs. Umney, and her son David still live there. When one day new castle residents unexpectedly arrive, the ghost is horrified to discover that they – an enterprising real estate agent and his three children – are not frightened by Sir Simon’s spooky activities. The snotty-nosed twins, Leon and Noel, simply turn the tables and play all kind of tricks on the ghost. Only the daughter Virginia, suffering from the death of her mother and annoyed by the unexpected arrival of her father’s mistress, finds an ear for the house’s old apparition.

Lange excellently understands how to acoustically captivate his audience. His music does not sound demonstratively ‘childish’ or ingratiating, but rather ambitious and occasionally challenging also for adult ears. (Thomas Schacher, Neue Zürcher Zeitung, 24 November 2013)

Musically composed throughout with great instrumental extravagance and written for voices that are up to the modern, expressive operatic style, The Canterville Ghost is full-fledged contemporary musical theater, colorfully orchestrated, harmonically challenging, and densely diverse in terms of form. (Herbert Büttiker, Der Landbote, 25 November 2013)