Let down by librettists and stagings - Weber

[Barbirollians]

Has anyone ever written so much great music to terrible librettos and with strange stagings as poor old Weber ?

I have been thrilled by Kubelik’s recording of Oberon this week - bought in a cheap DG reissue without libretto but with a synopsis suggesting the story is tosh . It seems that the requirements of English opera at the time with over the top spectacle is said to make it difficult to stage whilst Euryanthe - a work whose overture promises so much is said to be compromised by a libretto written according to a quote I have seen from Mahler by someone with a full heart and an empty head.

Perhaps Weber is the ideal opera composer for records where one can just enjoy the music and as in both Kleiber Freischutz recordings and Kubelik’s Oberon some great singing .

The influence Weber must have had on Wagner is so striking in Oberon.

[RichardB]

Has anyone ever written so much great music to terrible librettos and with strange stagings as poor old Weber ?

I think the answer is Purcell.

[Barbirollians]

I am rather surprised there is so little interest in Weber who does not even have an entry in our Composers Forum ?

[Ein Heldenleben]

I am rather surprised there is so little interest in Weber who does not even have an entry in our Composers Forum ?

Neither, until recently, did Wagner - who is probably the most significant artistic/ cultural figure of the later 19th century. Opera isn’t as popular as symphonic music either on this forum or in our culture generally. Without Weber there would have been no Wagner or perhaps there would have been a different type of Wagner.

[gurnemanz]

One of the first operas I ever saw live was Der Freischütz. It was in Nürnberg during my year abroad as part of my German degree. What I can remember 50 years later, apart obviously from the bracing horn-laden Hunters' Chorus, is a brilliantly vivid and exciting staging of the supernatural goings-on in the Wolfsschlucht. I had never experienced the like of it and lapped it up. Also the last scene with some great corny lines. The chorus vehemently intone their condemnation: Er war von je ein Bösewicht! (He always was a villain!) and demand that he be thrust into the previously depicted Wolf's Gorge. Our flawed but not wicked hero, Max, is understandably keen to avoid this fate and pleads: schwach war ich, obwohl kein Bösewicht. (weak was I, though not a villain). Luckily the local wise hermit is on hand to offer support to this argument. This is enough to sway even the previously outraged chorus and a happy end can ensue.

Unfortunate associations with Wolfsschlucht, which became the nickname for Hitler's bunker.

[LHC]

One of the first operas I ever saw live was Der Freischütz. It was in Nürnberg during my year abroad as part of my German degree. What I can remember 50 years later, apart obviously from the bracing horn-laden Hunters' Chorus, is a brilliantly vivid and exciting staging of the supernatural goings-on in the Wolfsschlucht. I had never experienced the like of it and lapped it up. Also the last scene with some great corny lines. The chorus vehemently intone their condemnation: Er war von je ein Bösewicht! (He always was a villain!) and demand that he be thrust into the previously depicted Wolf's Gorge. Our flawed but not wicked hero, Max, is understandably keen to avoid this fate and pleads: schwach war ich, obwohl kein Bösewicht. (weak was I, though not a villain). Luckily the local wise hermit is on hand to offer support to this argument. This is enough to sway even the previously outraged chorus and a happy end can ensue.

Unfortunate associations with Wolfsschlucht, which became the nickname for Hitler's bunker.

I first saw Der Freischutz at Covent Garden in the Gotz Friedrich production with designs by Günther Schneider-Siemssen. Alberto Remedios sang Max and Colin Davis conducted. I loved every minute, and especially all the special effects in the Wolf’s Glen (Gorge) scene. I think it’s a wonderful opera, but agree his other operas are hampered by terrible stories and librettos.

Several of Hitler’s headquarters had Wolf names, as this was his preferred nickname. However, I thought the name Wolfsschlucht was used for his HQs in France and Belgium (Wolfsschlucht I and II), rather than the final Bunker in Berlin. His most famous HQ was the Wolf’s Lair (Wolfsschanze) bunker in Poland, from where he directed the Eastern front between 1941 and 1945.

[Barbirollians]

Neither, until recently, did Wagner - who is probably the most significant artistic/ cultural figure of the later 19th century. Opera isn’t as popular as symphonic music either on this forum or in our culture generally. Without Weber there would have been no Wagner or perhaps there would have been a different type of Wagner.

I don’t agree at all the Wagner is the most significant artistic or cultural figure of the late 19th century- his musical influence was great but that overdoes it.

[Barbirollians]

I first saw Der Freischutz at Covent Garden in the Gotz Friedrich production with designs by Günther Schneider-Siemssen. Alberto Remedios sang Max and Colin Davis conducted. I loved every minute, and especially all the special effects in the Wolf’s Glen (Gorge) scene. I think it’s a wonderful opera, but agree his other operas are hampered by terrible stories and librettos.

Several of Hitler’s headquarters had Wolf names, as this was his preferred nickname. However, I thought the name Wolfsschlucht was used for his HQs in France and Belgium (Wolfsschlucht I and II), rather than the final Bunker in Berlin. His most famous HQ was the Wolf’s Lair (Wolfsschanze) bunker in Poland, from where he directed the Eastern front between 1941 and 1945.

Freischutz is great fun it’s absurdities being the part of it. Weber of course also wrote lovely works for clarinet and an apparently desperately difficult horn concertino .