A performance of Oberon, or the Elf-King's Oath, as part of 2026 BBC Proms got me wondering. Why, when every effort to present the music in as historically-informed form as possible, had a new text been written by children's author Timothy Knapman? Surely the aim of historical-informed performance does not just extend to the music, but to the text as well?
Weber's original libretto was by James Robinson Planché (27 February 1796 – 30 May 1880). As his Wikipedia article explains:
Over a period of approximately 60 years he wrote, adapted, or collaborated on 176 plays in a wide range of genres including extravaganza, farce, comedy, burletta, melodrama and opera. Planché was responsible for introducing historically accurate costume into nineteenth century British theatre, and subsequently became an acknowledged expert on historical costume, publishing a number of works on the topic.
So how did this very experienced writer produce a libretto that needs to be "modernised" for contemporary audiences. A first-night review in The News of Monday 17 April 1826 dismissed Planché's contribution in one line which hints at the difficulty:
As to the story of Oberon, dramatized by Mr. Planché, we need not fatigue our readers with any particular details.
The rest of the review follows:
THEATRE.
COVENT-GARDEN.
On Wednesday (after a full dress and fashionably attended rehearsal on the preceding evening) the long-expected "Fairy Opera" of Oberon; or, the Elf-King's Oath, was represented. Wieland's poem on the subject is tolerably well-known, through the medium of translation especially; but Weber's music, and the splendid manner in which the Opera was known to have been "got up," failed not to arouse the most lively interest.
We never recollect to have witnessed a more brilliant house to behold even a first performance, certainly not a more crowded and increased performance, was given to the introductory scene, by the enthusiastic manner in which Weber was received on taking his station to preside in the orchestra. Indeed the laudatory disposition of the audience was with no ordinary difficulty hushed so as to prepare the way for the overture.
It had hardly commenced, when the magic power of the Composer was manifest; there was soon the agreeable stillness, and charmed breathing, of fabled fairy land. The music of the overture naturally prepared the way for the character of the performance that was to follow—more especially the earlier portions of it; it was light, fanciful, and airy, and had some exquisite touches of simple and romantic melody.
Like the overture to Der Freischütz, it was an accurate prologue, or "chorus," to the coming scene; and equally appropriate; but from the very nature of the two Operas,—the one appalling by its incantations and "devilries," and the other charming by the magic of fairy feats,—neither the overture, nor the great body of the music will, on the first hearing, strike and take command of the senses like Der Freischütz.
As to the story of Oberon, dramatized by Mr. Planché, we need not fatigue our readers with any particular details.
Oberon (Mr. Bland) the monarch of Fairyland, has had a domestic dispute (such as will sometimes unavoidably occur in the best regulated families,) with his Queen, on the subject of female constancy; the lady stickling stoutly for the existence of that quality in the sex, and the gentleman protesting it is moonshine.
Finally, the parties separate, the Elf-king swearing he will never take back his disputatious wife to his royal bosom, till not merely a faithful woman, but, still more difficult, "a constant couple" are discovered.
Sir Huon (Braham) and Reiza (Miss Paton) are the parties selected by Fate and the Fairies for the experimentum crucis. The knight has been banished from France by the Emperor Charlemagne, and ordered never to return to his country without bringing back with him the daughter of the Caliph of Bagdat. Huon,,nothing daunted, proceeds on his dangerous errand, accompanied by his faithful friend and attendant Sherasmin (Mr. Fawcett)
On his journey Oberon appears, and prepares matters by introducing to him Reiza, the Caliph's daughter, in a vision. "Dream to dream replies;" Reiza gets a view of Sir Huon in the same magical manner; and of course the parties become mutually enamoured.
To assist the projects of the Knight the Elf-king furnishes him with a magic bowl and ivory horn, both of infinite importance to the success of his undertakings. By the aid of these Sir Huon is eventually enabled to overcome all the difficulties and temptations which present themselves, and to return with his bride in triumph to the Court of Charlemagne.
In the dramatizing of his story, Mr. P. appears to have forgotten by whom his characters were to be personated, and that singers are seldom very remarkable for their powers of acting. Had he borne this duly in mind, he would not have run the risk of exciting merriment in some of the more serious scenes; as, for instance, where he conducts Sir Huon to the stake.
A first-rate performer only could have given due effect to this scene; and we have no occasion to add, that Mr. Braham (however polished, effective and energetic as a singer,) is not remarkably forcible as an actor. His vocal efforts were, however, amazingly successful. He was in excellent voice, and evidently in good spirits: and appeared to be unusually warmed by the kindred genius of the composer.
Two compositions, mingling the martial and the bravura, giving preference to fame instead of love, Oh 'tis a glorious sight to see &c. &c., were eloquent and appropriate; and they were executed with becoming skill and force.
Miss Paton, as the Caliph's daughter, Reiza, evinced considerable powers of voice and execution. She has some excellent music allotted to her; but we have heard her more to our liking than in Oberon, and seen her more decidedly and successfully identify herself with the character and songs consigned to her care. Oh, why art thou sleeping, Sir Huon, was one of the best of Miss Paton's performances.
Madame Vestris, as Fatima, rendered powerful aid by the ease, naïveté, and melody of her song, and the gaiety of her manner. The lonely Arab maid, and the lively ditty of O, Araby, dear Araby are pretty compositions, and were delightfully executed.
Madame Vestris and Mr. Fawcett as Sherasmin, also execute a very playful duett On the banks of sweet Garonne in a charming manner.
There are several other of the Composer's productions that merit particular mention, and a repetition of that applause with which the audience justly greeted them.
We would specially note the chorus of Fairies in Oberon's Hall,
Light as fairy foot can fall,Also Puck's (Miss H. Cawse) incantation, and exorcisin the spirits of the four elements: Whether ye be in the deep. It is a simple and pretty air. The poetry of the songs of this opera has more merit than usually belongs to such productions,
Pace, ye elves, your Master's Hall.
The music of this piece, speaking of it generally, will sustain, but perhaps without advancing the fame of Weber in the way that some may have expected; and this is to be attributed to the different characters of the two Operas, to which we have already adverted. There are none of the deep mysteries of the Wolf's Glen, to seize and retain with wizard power the imagination as well as the senses. The chorus of spirits in the rock is, however, equal to any thing in Der Freischütz.
This theatre has ever been famous for the splendour of its scenery, and the lavish expense bestowed on the dresses and decorations of its fairy pieces—but Oberon outshines all its predecessors.
It is said that near £6,000 has been expended in its production, and we can readily believe it. As, however, it fills the house nightly, and is expected to last the season, we trust that the managers will reap a profitable harvest as a due reward for their liberality.
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