Aufführungsbesprechung London: Oberon von C. M. v. Weber (6. Aufführung 18. April 1826)
Covent Garden Theatre.
Weber’s Oberon continues to attract at this Theatre. – The house was good, and even the standing room of the pit occupied before the rising of the curtain yesterday evening. On every repetition the effect encreases. The Overture now appears as if played by one instrument; so effectively united is the Orchestra under its able director. The chorus of fiends, and that most voluptuous dance and chorus in the last act, are sung and received, con amore – nothing can surpass them. Braham sings and acts as if he felt that he was embodying immortal music, but would leave his execution of it hopeless of rivalry when he must cease to sing it. Distant, indeed, be that period, for every air and movement allotted to him in this piece receive new animation from the soul he breathes into them. Madame Vestris, and, perhaps, superior to all, Miss Paton, seem inspired by the same fine enthusiasm. The change in the part of Sherasmin from Fawcett to Duruset, is a decided advantage to the music, and no less to the acting*.
Editorial
Creation
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Responsibilities
- Übertragung
- Schreiter, Solveig
Tradition
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Text Source: The Theatrical Observer; and Daily Bills of the Play, Nr. 1363 (19. April 1826)
Commentary
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“… no less to the acting”Die Gesangspartie des Sherasmin wurde in der Londoner Aufführungsserie auf drei verschiedene Sänger verteilt: John Fawcett (laut UA-Theaterzettel Darsteller des Sherasmin), John Isaacs (Darsteller von Hassan, Master of a Vessel, singt im Quartett Nr. 11) sowie John Duruset, der dann ab der sechsten Vorstellung (18. April) und nochmaliger Unterbrechung (vom 2. bis 17. Mai spielte wieder Fawcett) die Rolle des Sherasmin komplett übernahm.
