New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-12-22
OPERA
Weber's |Oberon'' To Be Produced at Metropolitan
Saturday, Novelty to Younger
Operagoers

den, and if attempted must have
proved a complete fiasco. None of our
actors could sing, and but one singer
could act-Mme. Nestris-who made
charming Fatima. . Braham, the
greatest English tenor, perhaps, ever
known was about the worst actor ever
seen, and the most unromantic person
in appearance that can well be mag
ined His deserved popularity as a
vocalist induced the audience to over
look his deficiencies in other qualifica-
tons, but they were not the less fatal
to the dramatic effect of the character
of Huon of Bordeaux, the dauntless
paladin who had undertaken to pull
hair out of the Caliph's beard, STAY the
man who sat on his right hand and
kiss his daughter! Miss Patton, with
grand soprano voice and sufficiently
prepossessing person, was equally des-
titute of histrionic ability, and con-
sequently, of the four principal parts
in the opera only one was adequately
represented, that of Fatima by Nine.
Nestris"
The commission to compose ar opera
for London and to conduct it was &C
copied by Weber largely because he
knew that he was mortally i'll and
wanted to make financial provision for
his family. That he was inspired by
the subject (kemble gave him choice
between Faust" and "Oberon") is
proved by the exquisite beauty of the
music, which belongs to the fairy
world, in the story and the splcndor
Of many Of its chivalresque strains;
but his mind was nevertheless large
ly occupied with the commercial as
poets of the enterprise, at least until
he got we'll into his work He felt
that he was dying when he went to
London, and he died only a few days
less than two months after the first
performance, which took place on
April -, 1S26-died alone in his room
III the house of his generous host, Sir
George Smart.
The contract for the opera was not
signed until he reached London, but
the remuneration which he first asked
of Kemble showed that with all
his idealism he yet had an eye to
financial emolument, which was a
little less common among men of his
profession then than it is to day. For
conducting five performances of "Der
Freischutz" ne wanted 5000 sterling
a night, and for a sixth all the pro-
ceeds. For the first six performances
of "Oberon" he wanted the same re-
enumeration, after which Kemble was
to own the opera rights in Great Brit
ain and the book and music be the
composers for the rest of Europe
This would have amounted to over
$12,00o-an extraordinary compensa-
ton century ago, though a Dagatelle
compared with what Richard Strauss
or Pucclnl would exact to-day. At the
end of negotiations he agreed to ac-
cept, but sorrowfully, $500 sterling for
all property and performing rights in
the opera in Great Britain and to con-
duct the first representation. But he
conducted a number of concerts while
in London, for which he was we'll paid
blanche sent the book to Weber in
fragments, and at first sent him also
translation into French; but Weber's
interest in the work was so great that
he studied English, becoming so pro-
ficient in the language that he wrote
three letters in it to blanche regard
ing desired changes, which were made.
The letters are interesting as illustrat-
ing the relationship which ought to
exist between poet and composer, who,
he said, Give together in a sort of
angels marriage which demands a
reciprocal trust"
In his second letter he exclams, al
most rapturously: ooh! dear sir, what
would not we produce if we were liv
ing in the same town."
On the morning after the first per-
formance he embraced the librettist
and exclaimed: "Now we will 90 to
work and write another opera topether
and then they shall see what we can
dol"
The difference in tho ErrIcb ,xI