_Oberon; or, the Elf-King’s Oath_, a romantic opera in three acts, book
by James Robinson Planché, who founded it on Villeneuve’s story “Huon de
Bordeaux” and Sotheby’s English translation of Wieland’s German poem,
“Oberon,” was first performed at Covent Garden, London, on April 12,
1826. Weber conducted. The first performance in New York was at the Park
Theatre on October 9, 1828.
Weber was asked by Charles Kemble in 1824 to write an opera for the
Theatre Royal, Covent Garden. Weber chose “Oberon” for the subject.
Planché was selected to furnish the libretto. In a letter to him, Weber
wrote that the fashion of it was foreign to his ideas: “The intermixing
of so many principal actors who do not sing—the omission of the music in
the most important moments—all these things deprive our _Oberon_ of the
title of an opera, and will make him [_sic_] unfit for all other
theaters in Europe, which is a very bad thing for me, but—_passons
là-dessous_.”
Weber, a sick and discouraged man, buckled himself to the task of
learning English, that he might know the exact meaning of the text. He
therefore took one hundred and fifty-three lessons of an Englishman
named Carey and studied diligently, anxiously. Planché sent the libretto
to Dresden an act at a time. Weber made his first sketch on January 23,
1825. The autograph score contains this note at the end of the overture:
“Finished April 9, 1826, in the morning, at a quarter of twelve, and
with it the whole opera. _Soli Deo Gloria!!!_ C. M. V. Weber.” This
entry was made at London. Weber received for the opera £500. He was so
feeble that he could scarcely stand without support, but he rehearsed
and directed the performance seated at the piano. He died of consumption
about two months after the production.
Planché gives a lively account of the genesis and production of
_Oberon_. He describes the London public as unmusical. “A dramatic
situation in music was ‘caviare to the general,’ and inevitably received
with cries of ‘Cut it short!’ from the gallery, and obstinate coughing
or other significant signs of impatience from the pit. Nothing but the
‘Huntsmen’s Chorus’ and the _diablerie_ in _Der Freischütz_ saved that
fine work from immediate condemnation in England; and I remember
perfectly well the exquisite melodies in it being compared by English
musical critics to ‘wind through a keyhole.’ ... None of our actors
could sing, and but one singer could act, Madame Vestris, who made a
charming Fatima.... My great object was to land Weber safe amidst an
unmusical public, and I therefore wrote a melodrama with songs, instead
of an opera such as would be required at the present day.”
The first performance in Germany of _Oberon_ was at Leipsic, December
23, 1826.
The overture begins with an introduction (_adagio sostenuto ed il tutto
pianissimo possibile_, D major, 4-4). The horn of Oberon is answered by
muted strings. The figure for flutes and clarinets is taken from the
first scene of the opera (Oberon’s palace; introduction and chorus of
elfs). After a _pianissimo_ little march, there is a short dreamy
passage for strings, which ends in the violas. There is a full
orchestral crashing chord, and the main body of the overture begins
(_allegro con fuoco_ in D major, 4-4). The brilliant opening measures
are taken from the accompaniment figure of the quartet, “Over the Dark
Blue Waters,” sung by Rezia, Fatima, Huon, Scherasmin (Act II, Scene x).
The horn of Oberon is heard again; it is answered by the skipping fairy
figure. The second theme (A major, sung first by the clarinet, then by
the first violins) is taken from the first measures of the second part
of Huon’s air (Act I, No. 5). And then a theme is taken from the
peroration, _presto con fuoco_, of Rezia’s air “Ocean! Thou mighty
monster” (Act II, No. 13), and given as a conclusion to the violins.
This theme ends the first part of the overture. The free fantasia begins
with soft repeated chords in bassoons, horns, drums, basses. The first
theme is worked out in short periods; a new theme is introduced and
treated in _fugato_ against a running contrapuntal counter theme in the
strings. The second theme is treated, but not elaborately; and then the
Rezia motive brings the spirited end.