02 Mar 2006
WEBER: Oberon
Oberon, Romantic opera in three acts
Music by Carl Maria von Weber. Libretto by James Robinson Planché after Oberon by Christoph Martin Wieland and the 13th-century French romance Huon de Bordeaux
Opera in three acts. Words and music by Richard Wagner.
Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.
“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .
This theme relates to operas based on the works of Friedrich von Schiller.
Here are operas based on French literature from Balzac, Hugo and beyond:
Le Cid, Opéra in 4 acts
I puritani, opera seria in three acts
Zaira, Tragedia lirica in two acts.
Athalia: Oratorio (sacred drama) in 3 acts
Lucrezia Borgia: Melodramma in a prologue and two acts.
La Esmeralda: Opéra in four acts.
Ernani: Dramma lirico in four parts.
Oberst Chabert (Colonel Chabert): Tragic opera in 3 acts.
Otello: Dramma lirico in four acts.
Music composed by Giuseppe Verdi. Libretto by Arrigo Boito after The Tragedie of Othello, the Moore of Venice by William Shakespeare.
A Midsummer Night’s Dream, a comedy in five acts with incidental music.
Le Marchand de Venise (“The Merchant of Venice”): Opéra in three acts.
Gli Equivoci (The Comedy of Errors): Opera in two acts.
Der Sturm: Opera in three acts
The Fairy-Queen: Semi-opera in five acts.
Macbeth: Melodramma in quattro parti.
Oberon, Romantic opera in three acts
Music by Carl Maria von Weber. Libretto by James Robinson Planché after Oberon by Christoph Martin Wieland and the 13th-century French romance Huon de Bordeaux
First Performance: 12 April 1826 at Covent Garden, London
Principal Characters:
| Oberon | Tenor |
| Titania | Actor/Dancer |
| Puck | Mezzo Soprano |
| Sir Huon Of Bordeaux | Tenor |
| Sherasmin | Baritone |
| Rezia | Soprano |
| Fatima | Mezzo Soprano |
| Two Mermaids | Mezzo Soprano |
| Droll, Caliph Haroun Al Rachid, Namouna, Babekan, Abdallah, Almanzor, Roshana and Charlemagne | Spoken Roles |
Time and Place: Ninth Century France, Persia and North Africa.
Synopsis:
Oberon and Titania have quarrelled over the matter of male or female inconstancy and will be reconciled when a couple constant through misfortune can be found. The Emperor Charlemagne has ordered Sir Huon of Bordeaux to travel to Baghdad. There he must kill the man on the right hand of the Caliph and kiss and marry the Caliph's daughter. Sir Huon sees the Caliph's daughter, Reiza, in a dream, and is given by Oberon a magic horn to summon necessary aid and a magic goblet, that will burn the lips of the impure. By the Tigris Sir Huon saves the Saracen prince Babekan, betrothed to Reiza, from a lion. Babekan drinks from the goblet, his lips are burned and he attacks and is repelled by Sir Huon. In Haroun al Raschid's palace Reiza wants to avoid marriage to Babekan and has seen her rescuer in a dream. Sir Huon arrives. In the second act, in the Caliph's palace, Reiza is saved from marriage to Babekan, who is killed, while the court is paralysed by the sound of the magic horn. Sir Huon and Sherasmin, with Reiza and Fatima, escape by ship, which is wrecked. Reiza is abducted by pirates and Oberon tells Puck to take Huon, bound and unconscious, to the house of Ibrahim in Tunis, where the third act opens. Now Sir Huon, escaping from imminent execution through the blowing of the magic horn by his squire, rescues Reiza from the harem of the Emir. Their trials now over, the couple is transported to the palace of Charlemagne by Oberon and Titania and the opera ends with praise of the constant Sir Huon and Reiza.
[Synopsis Source: Naxos]
Click here for complete libretto (English).
Click here for complete libretto (German).
Click here for the score of the overture (Scorch plug-in required).
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