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BERNARD J. TAYLOR

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Nosferatu the Vampire
A rock opera

Introduction 
by Bernard J Taylor

The vampire in Nosferatu  is a much more tragic figure than the creature generally portrayed in the countless Dracula films and other cinematic portrayals of vampires that followed. I have taken two basic elements - the tragic and the redemptive - and embroidered on them considerably, taking the story as far as possible from the Dracula that most people have come to know. I have avoided any reference to "Dracula" and the creature is referred to only by the name "Nosferatu".

The most significant difference between my version and others of this tale is that the vampire dies because, like Galahad discovering the Holy Grail in the Arthurian legend, he wants to die at this point, for life no longer holds anything more for him. In effect he is redeemed by the purity of Mina, who is willing to sacrifice herself for the sake of others.

I have given him the background of a man who began his adult life as a scientist and philosopher, the product of a noble household, who became cynical and disillusioned when he failed to find any meaning to his life.

View the introductory videos: Act 1 Act 2

Reviews

"One of the greatest and most original scores ever created for the musical stage." - Professor Edward Figgins, director of the J.B. Sowards Theatre, Kentucky.

"Bernard Taylor's operatic version brings unexpected yet welcome redemption to the Dracula figure ….I found Bernard Taylor's opera very moving to listen to, as I myself really love the story of Count Dracula and it added an entirely new dimension to the story for me. When I closed my eyes and listened to the music I was able to conjure up a subtlly different image of the vampire to that of the one we see on screen. You could feel all his pain and anguish as well as his hope for redeeming love. …. I am grateful to Bernard Taylor for allowing me a new perspective on one of my favourite stories." - "C.B", Musical Opinion (Europe's leading classical and operatic music review magazine).

"The vigorous, wide-ranging music of Nosferatu resembles a lusty love child of a blood wedding between Carmina Burana and Les Miserables, orchestrated and performed with an onward driving force which almost recalls Bernstein in its progressive, narrative energy." - Margaret Sillwood, Kent and Sussex Courier.

"Nosferatu is dark and sombre yet with an inherent beauty - eerie, ethereal and passionate. The real fascination proves to be the depth and grandeur of the abundance of haunting melodies...Bernard J. Taylor has once again displayed his exceptional talent. Surely it cannot be long before that talent is fully rewarded and recognised." - Mike Gibb, Masquerade.


"One of Taylor's trademarks is fine ballads, and once again he does not disappoint with what I consider are three outstanding examples. But there are lots of other good things to be savoured throughout this excellent recording." - Terry Wardrope, Words and Music.


"It sounds like no show you have ever heard before. It is certainly the most original show music I have heard. It is very different in style to Taylor's previous work and any other show on the West End or Broadway, and is likely to have far wider appeal than most musicals." - CD, Beneath The Mask (the journal of the Phantom of the Opera Appreciation Society)


"A sweeping melodic score which is missing from most new shows." - Baz Bamigboye, Daily Mail.

 

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