WeGA, Rezeptionsdokumente, Digitale Edition
author: anonym
source date: 13. November 1824
language: de
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

DRURY LANE.

Mr. Elliston [Robert William Elliston (1774–1831), von 1819 bis 1826 Pächter des Drury Lane Theatre], who is not usually wanting in activity, has some how or other, as far as regards Der Freischütz, been completely distanced. Not only has he suffered the English Opera-house and Covent Garden to get the start of him, but even the Surrey [Freischütz-Premiere im Surrey Theatre am 6. September 1824.] and the Tottenham have far outstripped him in the race, and are, for aught we know, at this moment ready to contend for some other lucky venture. This being the case, we have very little expectation that another version of this Opera can excite much attention, or be of much benefit to the treasury. With respect to the construction of the drama which was produced on Wednesday, we may briefly observe, that it differs but slightly from that which was performed at the Lyceum. In this piece, howewer, all the characters are musical; an alteration, which at the same time that it may be highly gratifying to the lovers of harmony, is nevertheless disadvantageous to its general interest, as singers are almost uniformly bad actors, and any thing that may be entrusted to them in the way of stage effect, is generally spoiled by them. For the truth of this remark we need look no farther than the incantation scene, as it is given at this theatre, which fails in comparison with any other we have seen, for this very reason. The mode of bringing about the catastrophe is also changed, as Caspar in the present instance fires the magic bullet directly at the bride, who is saved by the wreath of flowers, whilst the ball recoils, and he thus eventually becomes the destroyer of himself. The performers, particulary T. Cooke, Horn, and Miss Graddon, had ample room for the exercise of their musical abilities, which they did not fail to display, much to the gratification of the audience. The scenery by Stanfield and Roberts [Die Maler und Bühnenbildner Clarkson Stanfield (1793–1867) und David Roberts (1796–1864).], particulary the wolf’s glen, is beautifully painted, but the machinery might be greatly improved. The moon, in the first scene of the second act, regulary rose and set twice in about a quarter of an hour, and what is equally remarkable, when she had finally retired from our view, her beams were to be seen dancing upon the water just as resplendently as when she was in the zenith of her brightness. Who this ingenious machinist may be we do not know, but we certainly think that a course of Mr. Bartley’s astronomy, next Lent [Der Schauspieler George Bartley hielt im English Opera House in den Jahren 1820 bis 1828 während der Fastenzeit populäre astronomische Vorträge.], would be of great service to him.