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EIF Review, 18 August 2004 |
Jonas Green |
von Weber: Der Freischütz, Edinburgh, 17 August 2004
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Der Freischütz
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Usher Hall |
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Der Freischütz is an important work for many
reasons: it is the first of Weber's three mature operas, it is a key
transitional step between Singspiel and German romantic opera; and it
contains much fine music and imaginative orchestral writing which was to
influence Berlioz and others. Opportunities are rare to hear one Weber opera
complete, let alone three in a week. The International Festival merit the
highest praise for this feat of organisation, as do the sponsors, Lloyds TSB
and Scottish Widows on this occasion.
The Usher Hall was deservedly full, to hear an exemplary concert performance
of the entire score. Enough of the spoken dialogue was included to carry the
narrative, albeit in German but the comprehensive printed programme guided
us. Certainly we had to imagine the terrors of the Wolf's Glen in a
brightly-lit hall but Weber's atmospheric orchestral sounds helped
considerably. Gloomy string tremolos, growling horns, sinister low woodwind,
fateful hollow drumstrokes - it really was film music a century before
Hollywood.
The SCO under a genial Charles Mackerras were on form, and numerically
amplified for this work, though he scaled down the body of lower strings for
lighter numbers. The Philharmonia Chorus were convincing peasants, huntsmen
and bridesmaids - as appropriate - on their few appearances. All of the
cast, we had heard, were Brian McMaster's first choices. Details such as the
use of performance space, balance of sound, even the little stage band, had
clearly been carefully prepared.
Men's voices predominate during the rustic evening which forms Act I.
Jonas Kaufman was the hero Max in a part that suits his lighter voice, and
John Relyea was his potent and sinister nemesis Kaspar. Women's voices
open Act II with a domestic evening scene, and again Act III when daylight
has broken at last after the devilish goings-on in the Wolf's Glen. Weber's
genius puts three consecutive bright numbers here: a Cavatina for heroine
bride Agathe (radiantly sung by Hillevi Martinpelto), an Aria with fine solo
viola obbligato for her cousin Annchen (bright-toned young Ailish Tynan),
and a chorus - one of several imitation folk-songs - with four solo
bridesmaids (four current or recent students at RSAMD).
The denouement then takes a while, after another huntsmen's chorus, and
words of wisdom from a Hermit (the rich bass of youthful Matthew Rose). The
music here is all rather medium paced, but drawn-out finales were the taste
of the times: compare Fidelio. One incidental pleasure of the evening had
been in hearing the materials of the well-known Overture in their original
context. Its big tune rounds off Agathe's first aria, and here it came
again, to bring the work to a triumphant conclusion
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