Page:The Literary Magnet 1824 vol 2.djvu/146

Der Freyschuetz, was performed the 22d of July for the first time in England. From the bill we were led to expect a literal translation, and the full contents of Von Weber’s delightful composition. But we were very much disappointed. We heard indeed Weber’s music; but here only half of a tune, there a Trio arranged as a Duetto, here omittances, there additions, mistakes of time and expression, and a want throughout of animation. The whole however went off extremely well, save the spirit of the composition, this was deficient of all its life, all its energy. Those who have heard this Opera at Berlin,^[1] or any other capital of Germany, will not find our judgment too harsh. Even the book, by no means a favourite in Germany, is so strangely altered, that in its present state it will be hardly understood. In the original, the Demon is not so stupid as to direct his bullet against one who cannot escape from him-but our intention is not to criticise the book, but the performance. We only shall remark, that instead of the animated opening of the scene by dancing and singing, here is introduced a gloomy dialogue as a substitute; also in the original there is but one, huntsman, who is in league with the devil; here we find an additional one Rollo (by the bye, neither a German nor a Bohemian name.) The part of this huntsman wants an actor as well as a singer-this appears to have been the cause for the living addition: for Rollo cannot play, and Caspar cannot sing; so he, if there is a song to be executed, calls Rollo in to do it for him.

Now to the performance.

The overture was undoubtedly the best executed part of the whole, although the orchestra was neither strong enough nor competent to so great a task. The big-drum in the last Allegro should not be so strong. The first Chorus was well sung, but the second, which is called the laughing or mock chorus, failed throughout. Here the laughing, accor ding to Weber’s notions, under whose directions we have often heard this Opera, should begin piano, and finish by a gradual increase in fortissime; in that case the irony would appear, but here they burst out into an immoderate fit of laughter, which excited and deserved another from the spectators. Why Weber’s music has been altered we do not know-but we know very well that the alteration does no credit to the judgment of the arranger. It is always dangerous to alter the productions of genius-but if those productions have already victoriously overcome the trial of public criticism, why then introduce instead of them a doubtful alteration? This is even foolish, besides almost a sacrilege, to spoil by an arbitrary arrangement the most sacred and only property