## Title: Aufführungsbesprechung London: Oratorio-Aufführung im Covent Garden Theatre am 8. März 1826 (inkl. Freischütz-Auszügen)
## Author: anonym
## Version: 4.11.0
## Origin: https://weber-gesamtausgabe.de/A033215
## License: http://creativecommons.org/licenses/by/4.0/

ORATORIO. ‒ Yesterday evening a crowded audience assembled at Covent-garden Theatre, in consequence of the announcement that the celebrated composer, Weber, was to preside during the first part of the oratorio. At an early hour the boxes were well filled, and every seat in the pit was occupied. Three or four rounds of the most enthusiastic approbation greeted M. Weber on his entrance. He did not preside at the pianoforte, as it was reported he intended to do, but merely stood in the front of the stage, provided with a music desk and a baton de mesure, to regulate the time of the performances, ‒ a task which he performed with extraordinary carnestness. M. Von Weber is, in person, rather above the middle height, extremely thin, and of dark complexion. His countenance, which is striking and intelligent, appears to bear traces of profound study, rather than of vivid imagination; but he wore glasses, which tended to conceal the expression of his eye. His department is gentlemenly and remarkably unassuming. The first part of the oratorio consisted of a selection of the most admired pieces of the Freischutz, commencing with the overture, which was enthusiastically encored. At the conclusion of the overture, and at the close of several pieces, M. Weber bowed in acknowledgment of his thanks to the performers, apparently anxious to transfer to them a portion of the vehement approbation which was so lavishly directed to himself. The first part of the oratorio closed amidst repeated cheers, and M. Von Weber, after repeatedly bowing to the audience, cordially skooked hands with Sir G. Smart and Mr. Mori. The admirable style in which this selection from the Freischutz was executed by the performers, vocal and instrumental, could not but prove in the highest degree gratifying to the eminent composer. He appeared to be particulary pleased with the singing of Miss Farrar, Miss Paton, and Mr. Braham, with whom he shook hands. M. Von Weber seemed to be much affected by the applause of which he was the object, but he showed no disposition to obtrude himself. On the contrary, he appeared rather to shrink from the notice of the audience. The second part of the oratorio consisted of a selection from Judas Maccabeus, in which Miss Paton and Mr. Braham rendered full justice to the exquisite compositions of Handel.