WeGA, Rezeptionsdokumente, Digitale Edition
author: anonym
source date: 24. Juli 1824
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

ENGLISH OPERA.

The long-looked-for Opera of Der Freischütz was performed here for the first time on Thursday evening. This strange and non-natural production is founded upon one of those stories which are so popular in Germany, and which, as far as our recollection serves us, is simply to this effect: a Huntsman, who aspires to the office of ranger of a certain forest, has attempted in vain to surpass his companions in the skill they exhibit in shooting at the target, for, do all he can, he generally misses his aim and retires from his attempts defeated and disgraced. After one of these unsuccessful efforts, whilst lamenting his misfortune, he is encountered by a stranger in the garb of an Old Soldier, who of course turns out to be the common enemy of man, and who, after inquirung into the cause of his sorrow, cheers him with the promise, that, upon certain conditions, he will teach him how to cast seven bullets which shall never miss their aim. The conditions proposed are these: that after the Huntsman shall have used six of the balls for his own advantage, the seventh shall be for the benefit of the old gentleman himself. The terms are agreed upon between them; the Huntsman, with his six bullets, carries all before him; but the seventh, which is par excellence the trial-shot by heart, takes an oblique direction, and, to his ineffable dismay, destroys his own mistress! The Devil then appears in propria persona, and carries off with him his devoted victim. Upon these materials the present Drama has been founded, but we cannot say much for the ingenuity the author has displayed in the employment of his subjects. Without adding any thing to this slender fabric, he on the contrary has weakened what little interest it possessed, by dividing the character of the Yager into two parts, and making the one who originally completes the bargain with his Satanic Majesty attempt his own release by the substitution of his friend; the consequence of which is, that at the trial of the final shots he is destroyed, and the lady and the lover are happily united. The chief object of attraction, howewer, was the music. The Overture was familiar to many, and expectation was strongly raised as to the rest of the performance; but as far as we can judge, the audience appeared to be miserably disappointed. We much doubt if there be a single Air that is likely to become popular, generally speaking, howewer scientific it may be. It is extremely ineffective; and a solitary encore, and that a very languid one, was the only token of approbation bestowed upon any part of it. Braham had a great deal to get through; and, notwithstanding he exerted himself to the utmost, and was in very fine voice, yet we have rarely seen his brilliant acquirements displayed to so little advantage. The other performers also, particularly Miss Noel, Cooke, and Bennet, did all they could; but the natural weight of the piece was insurmountable. The Incantation Scene in the second act, which is a business altogether of machinery, was tolerably well managed; but the Opera we fear will never please the public or reward the proprietor. If it has been performed, as the bills announce, in all the theatres of Germany with the greatest success, we can only come at this conclusion ‒ that the Germans are most easily satisfied than we are, or that our taste are wide as the Poles asunder.