Aufführungsbesprechung London: Oberon von C. M. v. Weber (UA 12. April 1826)

Covent Garden Theatre.

Oberon was performed last night, for the first time, to a brilliant house. The plot differs but little from the Oberon of Drury Lane*, both being founded on the poem of Wieland’s. As it is dramatized by Mr. Planche, we need not mention that it is free from the unrivalled absurdity in language of its predecessor. Oberon, (Mr C. Bland) and Titania, (Miss Smith) are separated, and are not again to meet in concord until two lovers be found faithful to each other through all extremities. The agency of Oberon is exerted throughout the piece in favor of Sir Huon, (Mr. Braham) and Titania interests herself for Reiza, (Miss Paton) the daughter of the Caliph. Sir Huon is engaged in a task which would be appropriate to no age but that of chivalry and Charlemagne; he is to slay the person on the left hand of the Caliph, (Mr. Chapman) and marry his daughter. To assist him, Oberon gives him an enchanted horn, and a wine cup always supplied, but with fire instead of the juice of the grape, when touched by anhallowed lips. Sir Huon arrives at Bagdat, kills Baba Khan, (Baker) to whom the Caliph is about to marry his daughter, and is saved from his vengeance by the magic horn. Reiza and Sir Huon have previously seen each other in visions, and she flies with him from the court of her father. A storm arises in their journey – they are wrecked, and Sir Huon leaves her to procure assistance. While he is absent she is seized by corsairs, and vonveyed to Tunis. Sir Huon, exhausted by fatigue, is bound by Oberon in a sleep, which is to last seven days, and then is conveyed in a car of flowers to the same city, where he finds Reiza in the power of Almansor, (Mr. Cooper) whose wife, Roshana, (Miss Lacy) jealous of Reiza’s beauty, and enraged by the contempt of Almansor, andeavours to provoke Sir Huon to kill the emir, which he resists; she then tempts him, but in vain, with the charms of female beauty. Almansor discovers him in her apartment, and orders him to be burnt with Reiza, but the horn, (which had been lost) having been again presented to Sherasmin, (Fawcett) the faithful attendant of Sir Huon, is blown at the moment when the pile is about to be fired. Uncontrollable laughter and dancing seize the attendants, and Sir Huon and his bride are conveyed by Oberon | to the court of Charlemagne, (Mr. Austin.) Sherasmin and Fatima, (Madame Vestris) the attendant of Reiza, furnish the comedy of the piece, and are in possession of the lighter music. In estimating Oberon, the music is, of course, the most important consideration; it is the most varied and delightful. Among the wilder efforts which prove the hand of the composer of Der Freischutz, ist a demon chorus in the second act. The Ouverture is not so bold as that of Der Freischutz, but at the same time equally exquisite in its harmonies, and evincing the same original, – we may say, Shaksperian genius. Braham has three very fine songs; “O! ’tis a glorious sight to see,” was rapturously encored. There is a beautiful quartette, which was admirably executed. The whole Opera is a most fascinating and extraordinary production. Weber was called forward at the close, and appeared almost alarmed by the congratulations of the audience. Braham, in one of his descents, entaugled himself, and was nearly upset. No language can do justice to the splendour and good tast of the scenery. There was a beautiful mermaid-song by Miss Goward. We cannot at present do justice to this Opera, but there will be many opportunities of supplying all omissions; it forms an era in the history of the drama.