WeGA, Rezeptionsdokumente, Digitale Edition
author: Amadeus Wendt
source date: 13. April 1826
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

COVENT-GARDEN THEATRE.

Weber’s new opera of Oberon was brought out at Covent-garden last night; and, as might have been expected from the fame of Der Freischutz, produced an overflow in all parts of the theatre. The dramatic portion of an entertainment like this stands of course entirely subordinate to the business of the music; and becomes, indeed, chiefly either valuable or defective, as it does, or does not, afford scope for the powers of the composer. To most of the leading features of the opera, we alluded yesterday, in our notice of the rehearsal which took place on Tuesday evening; but its general effect was materially aided last night by the presence of Miss Paton, who seemed entirely recovered from her slight accident, and sang with even more than her ordinary power. The general beauty of the Oberon music lies more, perhaps, in a constant variety of striking and scientifically managed passages, than in that simple and definite style of melody which made parts of the Der Freischutz so popular. To this general arrangement, however, there are instances of exception; and the battle-song by Braham in the first act, the chorus of fairies in the first scene, the song by Madame Vestris in the second act, the waltz introducing the Princess in the first, and a quartette in (we believe) the second act, by Braham, Isaacs, Miss Paton, and Madame Vestris, are of a character which cannot fail to be attractive to all dispositions. The getting up and decoration of the piece has been peculiarly expensive and splendid. The water scene, with the change of lights, by T. Grieve, is particularly fortunate; indeed, it is the best managed view of the kind which we recollect to have seen exhibited. The "Haunt of the Spirits of the Storm,“ too, in which a mass of rock becomes miraculously peopled with demons from top to bottom – as a piece of machinery, is novel and effective. The overture, with a variety of the other music, was encored, and the performance did not terminate until a late hour. Mr. Braham was in admirable voice, and sustained his dramatic character of Knight-errant by no means discreditably. M. Weber, in person, presided in the orchestra; and was warmly welcomed by the audience upon his appearance. At the conclusion, being called for, he came forward after some time, introduced by Mr. Fawcett; but very soon retired, and received with as much modesty as seeming good sense the applause which was bestowed upon him.