Album Review: Der Waffenschmied Opernquerschnitt by Albert Lortzing (1974)
Albert Lortzing’s Der Waffenschmied Opernquerschnitt is a gem from the German Democratic Republic, released under the labels phonoclub and ETERNA in 1974. This opera, composed and written by Lortzing himself, delivers a mix of humor, drama, and heartfelt emotion that feels timeless. It doesn’t just sit there like some dusty museum piece—it grabs you with its wit and charm. The Staatskapelle Berlin, conducted by Heinz Fricke, brings out every nuance of this score, while the stellar cast adds layers of personality to their roles.
Let’s zoom in on two standout tracks: "Du Bist Ein Arbeitsamer Mensch" and "Er Ist So Gut."
In "Du Bist Ein Arbeitsamer Mensch," bass Hans Krämer shines as Hans Stadinger, the titular weaponsmith. His voice has a warmth that makes the character feel real—you can almost picture him tinkering away at his forge. The melody bounces along playfully, but there’s a depth to it too, like Lortzing wants us to see past the jokes and into the soul of this hardworking guy. By the time the chorus joins in, you’re hooked, tapping your foot without even realizing it.
Then there’s "Er Ist So Gut," where Elisabeth Ebert’s soprano vocals steal the show. As Marie, she pours her heart into this tender moment. There’s something raw about her delivery—it’s not perfect in a robotic way; instead, it feels human, vulnerable. You get the sense she’s singing directly to you, sharing a secret only you understand. When the orchestra swells behind her, it’s goosebump territory. These are the kinds of moments that remind you why opera still matters.
The production quality might not rival today’s high-tech recordings, but honestly? That’s part of its charm. Recorded in the GDR, the sound carries a certain grittiness that matches the story’s earthy themes. Gertraud Prenzlow, Harald Neukirch, and Günther Leib round out the vocal lineup with performances that bring the quirky characters to life. And let’s not forget Siegfried Völkel’s work as chorus master—the Chor der Deutschen Staatsoper Berlin sounds tight and full of energy.
One quirky detail worth mentioning: Ernst’s artwork for the album cover looks like it was doodled during a coffee break, but somehow it fits. It’s simple yet striking, much like the music inside.
Reflecting on Der Waffenschmied, I’m struck by how fresh it feels despite being nearly 50 years old. Maybe it’s because Lortzing knew how to balance silliness with sincerity—or maybe it’s just that good music never really ages. Either way, listening to this album feels like stumbling across an old photograph: slightly faded, maybe a little rough around the edges, but bursting with stories waiting to be told.
Oh, and here’s a random thought—imagine if someone turned this opera into a Netflix series. Think medieval costumes, dramatic plot twists, and plenty of banter. Yeah, they’d probably ruin it, but wouldn’t it be fun to try?
