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everywhere to find such couples, but in vain. Awakening, Oberon curses the rash vow he made. Puck tells him that the knight Sir Huon has been ordered by
Emperor Charlemagne to go to Baghdad, slay the man on the Caliph's right hand, then kiss and wed the Caliph's daughter. Oberon decides that this knight and the princess will be the ones to assist him in his reconciliation with his queen. A vision of Reiza is conjured for Huon and his squire Sherasmin, and they are given a magic horn to summon aid from Oberon if needed. Fairies are called in to carry Huon on his mission.
729:
53:
1526:
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215:, but he died in London before starting work on the revision. It is logical to assume that the German translation would have had the composer's approval (and that it would have been in that language that revisions would have been made), but he heard it only in English, and did not work on a revision or translated version before his death. Since then, other composers and librettists have revised the work, notably
1778:
717:
at the stake. Reiza implores the Emir to pardon Huon, but as she had scorned his advances, the Emir refuses and orders the two to be burned together. Oberon is summoned by
Sherasmin blowing the magic horn. The Emir’s slaves begin to dance, and after a second blast on the horn, Oberon and Titania appear. The Tunisians flee, the lovers are transported to Charlemagne’s court, and Huon is pardoned.
183:
or Oberon as subject matter, he travelled to London to complete the music, learning
English to be better able to follow the libretto, before the premiere of the opera. However, the pressure of rehearsals, social engagements and composing extra numbers destroyed his health, and Weber died in London on
716:
In the harem of
Almanzor, Reiza laments her lot and manages to get a message to Huon who sets off to release her. However, by accident he encounters Roshana, the Emir's wife, who tries to persuade Huon to kill Almanzor and marry her. He refuses, but the Emir discovers them and condemns Huon to death
703:
Puck invokes the spirits of the elements to wreck Huon’s ship. Huon and Reiza survive, and he goes in search of more survivors while she sings of the fury and menace of the sea. At the close of her aria, she spies a ship approaching and signals to it. But it is a pirate ship, and she is abducted by
788:
contends that 'Oberon is musically strong enough to stand on its own merits'. Grove notes that despite the "unmitigated awfulness" of the libretto, Weber was able to provide musical characterisation for the main characters, at the same time colourfully evoking the mood of the different scenes; the
699:
In the splendid court of Haroun al Rachid, a chorus sing praises to their ruler. Reiza is led in to wed Prince
Babekan, seated on the caliph’s right, but Huon and Sherasmin burst in, kill Babekan and flee with the princess and Fatima. A ship is to take them to Greece. The two couples express their
672:
On the banks of the Tigris Prince
Babekan is rescued from a lion by Huon and Sherasmin. Babekan is actually the betrothed of Reiza but when he attacks Huon and Sherasmin they put the prince and his band to flight. Next Namouna, an old woman, tells Huon that Reiza is to be married the next day, but
668:
Fairies sing around the sleeping Oberon in his bower. Puck enters and recounts Oberon’s quarrel with
Titania, his queen: Oberon had vowed not to be reconciled with her, until a pair of human lovers are found who have been faithful to each other through all perils and temptations. Puck has ventured
654:
The opera is scored for 2 flutes, 2 clarinets (in A), 2 oboes, 2 bassoons, 4 horns (in D and A), 2 trumpets (in D), 3 trombones (alto, tenor and bass), strings and timpani. The tunings for clarinets, horns and trumpets are from the overture. For instance, act 1 opens with horn in D.
207:, London, on 12 April 1826, with Miss Paton as Reiza, Mme. Vestris as Fatima, Braham as Huon, Bland as Oberon and the composer conducting, it was a triumph with many encores, and the production was frequently revived. The libretto was translated into German later in 1826 by
238:
The opera was soon mounted elsewhere: Leipzig (23 December 1826); in 1827 in Dublin (1 February), Edinburgh (26 August) and Vienna (20 March), Prague in 1828 and
Budapest in 1829, with many other performances in western Europe from the 1830s to the 1860s.
712:
In the garden of the Emir's house in Tunis, Fatima sings of her fate as a slave. She and
Sherasmin are now married, and they sing of their childhood. Puck makes Huon appear, and after Fatima tells him that Reiza is in a harem, they plan her rescue.
704:
Abdallah and his crew. Huon tries to save her but is wounded; he manages to sound the magic horn and Oberon appears. Oberon tells Puck to take Huon to Tunis and the house of
Ibrahim. The mermaids sing happily over the unconscious prince.
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careful recurring use of the horn call motif helps to give the impression of tying the work together. The fairy strands of the opera are given in delicate, beautifully orchestrated music that often anticipates the fairy music of
1211:
211:, and it is in this German translation that the opera is most frequently performed. Weber was dissatisfied by the structure of the opera as it was produced in London, and intended to revise the work on his return to
817:) which is played regularly in the concert hall. It is based on themes from within the opera including the magic horn call; and the soprano's aria "Ocean, thou mighty monster: ("Ozean, du Ungeheuer")
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In the palace of Haroun al Rachid, Reiza confides to her attendant that she will only marry the knight in her vision. As Fatima announces the arrival of Huon, the two women rejoice in anticipation.
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223:(who, preparing a new performing version, rearranged some of the numbers and composed some linking music based on material from the existing score) and novelist-composer
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870:, Cat.# J306, Bavarian Radio Symphony Orchestra, Herkulessaal, Munich, 1970, studio recording.)
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800:. It is not clear whether Mendelssohn planned his entire overture as a tribute to Weber.
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Act 1: Huon's aria "Ah! 'tis a glorious sight to see" (excluded from the German score)
686:'s stage set for the first scene of act 2, designed for a revival of the opera at the
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Against his doctor's advice, Weber undertook the project commissioned by the actor-
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Act 2: Huon's Prayer "Ruler of this awful hour" ("Vater! Hör' mich flehn zu Dir!")
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premiere was on 28 December 1918 (accumulating 13 performances up to 1921) with
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Act 1: Huon's aria "From boyhood trained" ("Von Jugend auf in der Kampf")
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Act 2: Reiza's aria "Ocean, thou mighty monster" ("Ozean, du Ungeheuer")
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169:, a French medieval tale. It was premiered in London on 12 April 1826.
1077:(third revised ed.). Totowa, New Jersey: Rowman and Littlefield.
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Act 3: Huon's aria "I revel in hope and joy" ("Ich jub'le in GlĂĽck")
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made an arrangement of the overture in 1846 for solo piano (S.574).
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The first commercial recording was in German, and was conducted by
480:
146:
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Act 2: Fatima's aria "A lonely Arab maid" ("Arabiens einsam Kind")
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in place of original spoken dialogue. The opera was staged at the
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Act 3: Reiza's aria "Mourn thou, poor heart" ("Traure mein Herz")
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on 20 September 1826. It was first seen in Paris in 1830 at the
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254:(in German). A lavish production was mounted in French at the
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Act 3: Fatima's aria "O Araby!" ("Arabien, mein Heimathland!)
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There have been several other recordings, such as those by
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Second Empire Opera: The Théâtre Lyrique, Paris, 1851–1870
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1829:
Opera world premieres at the Theatre Royal, Covent Garden
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885:(the original English version on period instruments) for
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for financial reasons. Having been offered the choice of
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Act 1: Oberon's aria "Fatal vow!" ("Schreckens Schwur!")
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The autograph manuscript of the opera was donated by
1037:. Vol. 3. London: Macmillan. pp. 639–642.
1190:
Weber's autograph in the National Library of Russia
983:
774:Comparing the unconventional plot and structure of
673:has also had a vision which has drawn her to Huon.
642:
Chorus: Fairies, ladies, knights, slaves, mermaids.
1834:Adaptations of works by Christoph Martin Wieland
1790:
1174:. New York: Blue Ribbon Books. pp. 461–465.
1155:. New York: Penguin Putnam. pp. 1051–1056.
145:. The only English opera ever set by Weber, the
807:The overture (passages of which are quoted by
753:Arrangement of the overture, performed by the
231:and arranged the overture for guitar quartet.
1566:
1248:
881:(a note-complete recording) for RCA, and Sir
163:, which itself was based on the epic romance
19:For the opera by Sophie Seyler also known as
141:with spoken dialogue composed in 1825–26 by
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258:in Paris on 27 February 1857, conducted by
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1502:Hochschule fĂĽr Musik Carl Maria von Weber
1212:German translation of the libretto (1826)
1202:International Music Score Library Project
246:in America took place in New York at the
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1219:"Oberon, or the Elf-King's Oath"
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16:Romantic opera by Carl Maria von Weber
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1147:(2001). "Carl Maria von Weber". In
1121:. Oxford: Oxford University Press.
1014:. L'Almanacco di Gherardo Casaglia
195:, where it is currently preserved.
13:
1512:Carl-Maria-von-Weber-Gesamtausgabe
1136:
727:
434:Lucia Elizabeth Bartolozzi-Vestris
14:
1845:
1824:Operas set in mythological places
1686:The Quarrel of Oberon and Titania
1408:Concertino for Horn and Orchestra
1179:
1034:The New Grove Dictionary of Opera
327:Roles, voice types, premiere cast
1776:
1534:
1525:
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1297:Peter Schmoll und seine Nachbarn
1068:. New York: G. P. Putnam's Sons.
765:Problems playing this file? See
743:
649:
343:Conductor: Carl Maria von Weber
227:, who wrote a new libretto for
1814:Operas by Carl Maria von Weber
1119:The Oxford Dictionary of Opera
130:Oberon, or The Elf-King's Oath
35:Oberon, or The Elf-King's Oath
1:
1493:(compiler of Jähns catalogue)
893:
848:
341:Premiere cast, 12 April 1826
153:was based on the German poem
400:daughter of Haroun al Rachid
7:
1507:Carl Maria von Weber Museum
1153:The New Penguin Opera Guide
1073:Loewenberg, Alfred (1978).
877:(Mahler's version) on EMI,
814:Treatise on Instrumentation
658:
499:Mary Ann Goward and ?
10:
1850:
1693:Tall Tales of the Wee Folk
1580:
1006:Casaglia, Gherardo (2005).
688:Théâtre de l'Opéra-Comique
193:National Library of Russia
18:
1748:
1711:A Midsummer Night's Dream
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1075:Annals of Opera 1597–1940
866:as Sir Huon of Bordeaux (
803:The most famous numbers:
797:A Midsummer Night's Dream
640:
269:In the 20th century, the
242:The first performance of
137:306) is a 3-act romantic
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78:
68:
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39:
34:
1725:Faery: Legends of Avalon
1672:Oberon, the Faery Prince
1172:The Standard Opera Guide
707:
694:
663:
320:
161:Christoph Martin Wieland
97:Christoph Martin Wieland
1804:English-language operas
1491:Friedrich Wilhelm Jähns
1467:Invitation to the Dance
1402:Concertino for Clarinet
1396:Clarinet Concerto No. 2
1390:Clarinet Concerto No. 1
1099:. London: John Calder.
1065:The Complete Opera Book
951:Warrack & West 1992
755:United States Navy Band
289:in 1932 and 1934 under
277:as Reiza, conducted by
107:12 April 1826
58:Lucia Elizabeth Vestris
1225:Encyclopedia Americana
1170:Upton, George (1928).
1023:Brown, Clive (1992). "
965:, pp. 79–81, 309.
858:, whose cast featured
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691:
151:James Robinson Planché
73:James Robinson Planché
1117:; West, Ewan (1992).
731:
721:Music and noted arias
700:love as they depart.
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262:, and was praised by
60:as Fatima in an 1826
1437:Grand Duo Concertant
1280:List of compositions
1264:Carl Maria von Weber
549:Fatima's grandmother
281:, who also composed
189:Emperor Alexander II
143:Carl Maria von Weber
45:Carl Maria von Weber
1485:Max Maria von Weber
883:John Eliot Gardiner
868:Deutsche Grammophon
329:
301:conducting, at the
203:First performed at
199:Performance history
1646:Oberon Old and New
1460:Piano Sonata No. 2
980:, pp. 160–168
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271:Metropolitan Opera
1819:Romantische Opern
1764:
1763:
1732:Mists of Everness
1703:Major appearances
1548:
1547:
1431:Clarinet Quintet
1106:978-0-7145-3659-0
1084:978-0-87471-851-5
941:, columns 702–704
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684:Philippe Chaperon
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566:Caliph of Baghdad
426:Reiza's attendant
353:King of the Elves
303:Florence Festival
287:Salzburg Festival
126:
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1679:The Fairy Prince
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1384:Bassoon Concerto
1360:Orchestral works
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1207:English libretto
1200:: Scores at the
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562:Haroun al Rachid
520:wife of Almanzor
442:Huon of Bordeaux
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260:Adolphe Deloffre
166:Huon de Bordeaux
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1424:Chamber music
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1162:0-14-029312-4
1158:
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1149:Amanda Holden
1146:
1145:Warrack, John
1141:
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1128:0-19-869164-5
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1060:Kobbé, Gustav
1057:
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1054:1-56159-228-5
1051:
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1044:0-333-73432-7
1040:
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650:Orchestration
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381:Harriet Cawse
379:
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371:mezzo-soprano
369:
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313:in 1953 with
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275:Rosa Ponselle
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221:Gustav Mahler
218:
217:Franz WĂĽllner
214:
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205:Covent Garden
196:
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184:5 June 1826.
182:
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1414:KonzertstĂĽck
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1096:
1093:Walsh, T. J.
1074:
1063:
1032:
1024:
1016:(in Italian)
1009:
999:
998:
985:
958:
946:
898:
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875:James Conlon
812:
802:
796:
795:overture to
786:Gustav Kobbé
779:
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764:
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653:
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268:
248:Park Theatre
243:
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228:
209:Theodor Hell
202:
186:
171:
164:
154:
129:
128:
127:
90:
29:
20:
1799:1826 operas
1453:Piano music
1445:(1818–1819)
1377:Concertante
1369:(1806–1807)
791:Mendelssohn
607:Charlemagne
467:Sherasmin,
461:John Braham
375:en travesti
311:Paris Opera
283:recitatives
233:Franz Liszt
1793:Categories
1313:Abu Hassan
978:Kobbé 1976
963:Walsh 1981
923:Brown 1992
894:References
849:Recordings
767:media help
592:Abdallah,
556:Davenport
542:J. Isaacs
504:Almanzor,
476:in German
474:Scherasmin
453:in German
408:in German
337:Voice type
174:impresario
111:1826-04-12
69:Librettist
1739:Gargoyles
1598:(consort)
1329:Euryanthe
601:Horrebow
594:a corsair
578:Babekan,
547:Namouna,
525:contralto
518:Roshana,
1667:" (poem)
1530:Category
1198:, (Weber
1095:(1981).
1062:(1976).
739:Overture
659:Synopsis
573:Chapman
492:mermaids
481:baritone
472:spelled
449:spelled
424:Fatima,
404:spelled
387:Titania
315:Cluytens
147:libretto
120:, London
103:Premiere
87:Based on
79:Language
1756:Auberon
1638:Isoline
1596:Titania
1478:Related
1352:, 1888)
1305:Silvana
1228:. 1920.
1151:(ed.).
1031:(ed.).
1000:Sources
887:Philips
811:in his
809:Berlioz
690:in 1887
636:Atkins
633:spoken
622:spoken
614:Austin
598:spoken
584:spoken
570:spoken
553:spoken
534:Hassan
513:Cooper
510:spoken
413:soprano
398:Reiza,
307:Stiedry
299:Monteux
264:Berlioz
213:Germany
191:to the
109: (
82:English
62:etching
1809:Operas
1769:Portal
1749:Comics
1665:Oberon
1630:Oberon
1622:Oberon
1617:(1789)
1606:Operas
1582:Oberon
1470:(1819)
1462:(1816)
1439:(1816)
1433:(1811)
1416:(1821)
1410:(1815)
1404:(1811)
1398:(1811)
1392:(1811)
1386:(1811)
1350:Mahler
1340:(1826)
1337:Oberon
1332:(1823)
1324:(1821)
1316:(1811)
1308:(1810)
1300:(1802)
1289:Operas
1196:Oberon
1186:Oberon
1159:
1125:
1103:
1081:
1052:
1041:
1027:". In
1025:Oberon
1010:Oberon
776:Oberon
630:Amrou
625:Evans
619:Hamet
587:Baker
457:tenor
393:Smith
349:Oberon
291:Walter
244:Oberon
229:Oberon
156:Oberon
92:Oberon
23:, see
21:Oberon
1783:Opera
1657:Other
1540:Audio
1487:(son)
899:Notes
708:Act 3
695:Act 2
664:Act 1
611:mute
529:Lacy
406:Rezia
390:mute
367:Puck
358:tenor
333:Role
321:Roles
297:with
181:Faust
139:opera
41:Opera
1157:ISBN
1123:ISBN
1101:ISBN
1079:ISBN
1050:ISBN
1039:ISBN
538:bass
490:Two
451:HĂĽon
440:Sir
159:by
149:by
95:by
43:by
1795::
1222:.
1188:.
970:^
929:^
907:^
784:,
564:,
444:,
402:,
377:)
351:,
266:.
219:,
135:J.
1771::
1663:"
1574:e
1567:t
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1256:e
1249:t
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1165:.
1131:.
1109:.
1087:.
1047:.
1018:.
1008:"
992:.
889:.
769:.
373:(
133:(
113:)
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
