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Painting: "Constantinople at dusk" by Felix Zeim.

History (based on Richard Wigmore's essay for the present recording): The great acclaim with which the European audience met "Der Freischutz" instantly propelled Weber to the heights of the continent's musical life. This new-found renown led to a number of engagements, ultimately culminating in a commission from the manager of the London Covent Garden, Charles Kemble, for a new opera, based on the legend of Oberon ("Faust" was dismissed). Weber, despite being in the final stages of consumption, accepted the task, spending much of 1825 in composition and even taking extensive English lessons. By the time the composer arrived to England in mid-February 1826, "Oberon" was substantially complete, save for the overture and some changes requested by the original cast. The premiere, on the 12th of April, 1826, was an unmitigated triumph (in Weber's words, "such an honor as England has never before extended to a composer"), and the work was quickly taken up by most of the world's leading theatres, reaching Leipzig by 1826 (whereupon it was translated to the usually performed German), Prague by 1828, Paris by 1830. Sadly, Weber was not able to witness this success, as he succumbed to his illness just two months after the premiere, expiring on the night of the 5th of June, 1826.

Narrative: Even considering the secondary position of drama in the operatic genre, "Oberon", based on Wieland's 1780 epic poem, is a tremendously preposterous and, thus, unlikeable text: Oberon (tenor), in hopes of a reconciliation with his wife, aids Sir Huon of Bordeaux (tenor) who, having killed the son of Emperor Charlemagne in a duel, is condemned to proceed to Bagdad, slay the Caliph's left hand man and claim his daughter, Reiza (soprano), as his bride. Huon manages successfully to vanquish Reiza's intended husband, and the lovers, accompanied by their respective confidantes, Sherasmin (baritone) and Fatima (mezzo-soprano), take flight, only to be shipwrecked. Reiza is promptly captured by pirates and brought to Tunis, where she is sold to the Emir and exposed to every temptation but remains constant. Huon undergoes similar trials from Roschana, the jealous wife of the Emir. The lovers are saved from death by burning by the timely arrival of Oberon, and all ends happily. There are two magic objects (a horn and a cup), grand special effects, supernatural creatures, but they cannot detract us from the fact that the librettist, Planche, a regular collaborator for Henry Bishop, actually kills off any kind of conflict and any hint of a genuine love story (the lovers are brought together, unlike in the original, solely through the help of Oberon).

Music: Though I wouldn't use so strong a metaphor, I cannot disagree with Donald Tovey's famous remark that Weber had effectively "poured his finest music into a pig trough". Indeed, the weakness of the narrative actually undermines much of Weber's efforts, thus, dramatically much of the music becomes superficial. But after we clear our way through these almost impenetrable thickets, we must admit that "Oberon" stands as the greatest example of a composer's triumph over circumstances for Weber's opera contains some of the most beautiful and natural music in the romantic canon. In particular, the tenor and the soprano roles, despite an absence of a love duet (requested by Weber), are extremely taxing, asking for both Wagnerian power and Rossinian grace, yet tremendously rewarding: Reiza is allotted both a justly famous dramatic invocation of the power of the sea and a beautifully phrased lament that is an echo of the artlessness of Pamina's "Ach, ich fuhl", while Huon's great cavatina incorporates both flights of coloratura fancy and one of opera's freshest love songs. And this is just the tip of the iceberg: an overture of sublime nature that unites several important leitmotivs; two humorous character arias for Fatima, incorporating "Arabian" gestures, like an absolutely delightful "Al-al-al"; a subdued mermaid song of properly ethereal character; a charming quartet for the main characters, as they prepare to set sail just to name a few. A miracle of artistic resilience and surely one of Weber's finest scores.

Recording: The 2002 Philips recording of the original English version of the opera is exceptional with Gardiner leading a traditionally clear reading from the Orchestre revolutionnaire et romantique, the Monteverdi Choir and a cast, headed by two handsome-voiced lovers.

Oberon - Steve Davislim,
Puck (mezzo-soprano) - Frances Bourne,
Reiza - Hillevi Martinpelto,
Huon - Jonas Kaufmann,
Sherasmin - William Dazely,
Fatima - Marina Comparato,
Second mermaid (mezzo-sopranos) - Charlotte Mobbs.

Hope you'll enjoy =).