* * * * *
WEBER AND DER FREISCHUTZ.
In 1821, the newly-erected Royal Opera at Berlin was opened with "Der
Freyschuetz." The effect produced by the first representation of this
romantic opera, which we shall never cease to regard as one of the
proudest achievements of genius, was almost unprecedented. It was
received with general acclamations, and raised his name at once to the
first eminence in operatic composition. In January it was played in
Dresden, in February at Vienna, and everywhere with the same
success.--Weber alone seemed calm and undisturbed amid the general
enthusiasm. He pursued his studies quietly, and was already deeply
engaged in the composition of a comic opera, "The Three Pintos," never
completed, and had accepted a commission for another of a romantic cast
for the Vienna stage. The text was at first to have been furnished by
Rellstab, but was ultimately written by Madame de Chezy, and written in
so imperfect and impracticable a style, that, with all Rellstab's
alterations never had a musician more to contend with than poor Weber
had to do with this old French story. As it is, however, he has caught
the spirit of the tale.
"Dance and Provencal song, and vintage mirth"
breathe in his melodies; and although a perplexed plot and want of
interest in the scene greatly impaired its theatrical effect, the
approbation with which it was notwithstanding received by all judges
of music on its first representation in Vienna (10th Oct.
Pages:
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37