Oberon; or, the Elf-King’s Oath, a romantic opera in three acts, book by James Robinson PlanchÉ, who founded it on Villeneuve’s story “Huon de Bordeaux” and Sotheby’s English translation of Wieland’s German poem, “Oberon,” was first performed at Covent Garden, London, on April 12, 1826. Weber conducted. The first performance in New York was at the Park Theatre on October 9, 1828.

Weber was asked by Charles Kemble in 1824 to write an opera for the Theatre Royal, Covent Garden. Weber chose “Oberon” for the subject. PlanchÉ was selected to furnish the libretto. In a letter to him, Weber wrote that the fashion of it was foreign to his ideas: “The intermixing of so many principal actors who do not sing—the omission of the music in the most important moments—all these things deprive our Oberon of the title of an opera, and will make him [sic] unfit for all other theaters in Europe, which is a very bad thing for me, but—passons lÀ-dessous.”

Weber, a sick and discouraged man, buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey and studied diligently, anxiously. PlanchÉ sent the libretto to Dresden an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: “Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria!!! C. M. V. Weber.” This entry was made at London. Weber received for the opera £500. He was so feeble that he could scarcely stand without support, but he rehearsed and directed the performance seated at the piano. He died of consumption about two months after the production.

PlanchÉ gives a lively account of the genesis and production of Oberon. He describes the London public as unmusical. “A dramatic situation in music was ‘caviare to the general,’ and inevitably received with cries of ‘Cut it short!’ from the gallery, and obstinate coughing or other significant signs of impatience from the pit. Nothing but the ‘Huntsmen’s Chorus’ and the diablerie in Der FreischÜtz saved that fine work from immediate condemnation in England; and I remember perfectly well the exquisite melodies in it being compared by English musical critics to ‘wind through a keyhole.’ ... None of our actors could sing, and but one singer could act, Madame Vestris, who made a charming Fatima.... My great object was to land Weber safe amidst an unmusical public, and I therefore wrote a melodrama with songs, instead of an opera such as would be required at the present day.”

The first performance in Germany of Oberon was at Leipsic, December 23, 1826.

The overture begins with an introduction (adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon’s palace; introduction and chorus of elfs). After a pianissimo little march, there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, “Over the Dark Blue Waters,” sung by Rezia, Fatima, Huon, Scherasmin (Act II, Scene x). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon’s air (Act I, No. 5). And then a theme is taken from the peroration, presto con fuoco, of Rezia’s air “Ocean! Thou mighty monster” (Act II, No. 13), and given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end.