Weber - Oberon / van der Walt, Nielsen, Seiffert, Kasarova, Skovhus, Paulsen; Janowski

On this CD:

1. Oberon, opera in 3 acts, J306
Composed by Carl Maria von Weber
Performed by Berlin Symphony Orchestra with Vesselina Kasarova, Hermine May, Inga Nielsen, Melinda Paulsen
Conducted by Marek Janowski

Editorial Reviews
Amazon.com
Musically and in its plot and atmosphere, Oberon owes something to Mozart's Magic Flute. But Mozart's crazy mixed-up masterpiece ventures just inside the borders of Romanticism. The last opera of Carl Maria von Weber (1786-1826) goes deeply into Romantic atmosphere and mystique. Its rather disjointed but colorful libretto magically takes a medieval French knight (tenor Peter Seiffert) and the Caliph of Baghdad's daughter (soprano Inga Nielsen) through a series of trials (shipwreck on a desert island, capture by pirates, enslavement, and sexual harassment) to test the strength of their love. The music is magnificent, looking ahead to Wagner as well as back to Mozart. Conductor Marek Janowski does it full justice, uses a better edition than his chief rival on records, Kubelik, and has a first-class cast. --Joe McLellan

Tracks:

Oberon: Overture
Oberon: Act 1: No.1. Introduction (Elfenchor)
Oberon: So schlaeft er noch (Puck)
Oberon: Act 1, No. 2. Aria: Schreckensschwur! (Oberon)
Oberon: Act 1, No. 2. Aria: Heil, Meister, dir! (Puck)
Oberon: Act 1, No. 3. Vision: Warum musst du schlafen (Rezia)
Oberon: Act 1, No. 3. Vision: Genug der Zaubermacht! (Oberon)
Oberon: Act 1, No. 4. Ensemble - Ehre und Heil dem, der treu ist und brav! (Chor der Feen)
Oberon: Act 1, No. 4. Ensemble: Das holde Traumbild (Hueon)
Oberon: Act 1, No. 5. Aria: Von Jugend auf in dem Kampfgefild' (Hueon)
Oberon: Act 1, No. 6. Finale: Eil, eidler Held! (Rezia, Fatime, Sklavinnen, Haremswaechter, Chor)

Tracks:

Oberon: Act 2, No. 7. Chorus: Ehre sei dem maecht'gen Kalifen und Preis! (Gefolge des Kalifen)
Oberon: Act 2, No. 7. Chorus: Hoert, mein Prinz (Harun)
Oberon: Act 2: No. 8. Ballet
Oberon: Act 2: Komm naeher, meine Tochter (Harun)
Oberon: Act 2: No. 9. Melodrama
Oberon: Act 2: Fuerchte dich nicht (Scherasmin)
Oberon: Act 2, No. 10. Arietta: Arabiens einsam' Kind (Fatime)
Oberon: Act 2, No. 10. Arietta: Genug, meine kleine Saengerin! (Scherasmin)
Oberon: Act 2, No. 11. Quartet: Ueber die blauen Wogen (Hueon, Scherasmin, Rezia, Fatime)
Oberon: Act 2, No. 12. Solo, Chorus, and Storm: Geister der Luft und Erd' und See! (Puck)
Oberon: Act 2, No. 12. Solo, Chorus and Storm: Schlag die Augen auf (Hueon)
Oberon: Act 2, Appendix/Anhang 1. Prayer: Vater! Hoer mich flehn zu dir! (Hueon)
Oberon: Act 2, Appendix/Anhang 1. Prayer: Mein Hueon! (Rezia)
Oberon: Act 2, No. 13. Scene and Aria: Ozean, du Ungeheuer! (Rezia)
Oberon: Act 2, No. 13. Scene and Aria: Ha! Eine schoene Beute, bei Mahomet! (Abdallah)
Oberon: Act 2: No. 14. Symphony
Oberon: Act 2: Du armer Sterblicher! (Oberon)
Oberon: Act 2, No. 15. Finale: O wie wogt es sich schoen auf der Flut (Meermaedchen, Puck, Oberon, Nymphen, Elfen)
Oberon: Act 3: Arme, arme Fatime! (Fatime)
Oberon: Act 3, No. 16. Aria: Arabien, mein Heimatland (Fatime)
Oberon: Act 3, No. 16. Aria: Fatime! Liebchen! (Scherasmin)
Oberon: Act 3, No. 17. Duet: An dem Strande der Garonne (Scherasmin, Fatime)
Oberon: Act 3, No. 17. Duet: So! Nun ist alles in Ordnung (Scherasmin)
Oberon: Act 3, No. 18. Terzettino: So muss ich mich verstellen? (Hueon, Scherasmin, Fatime)
Oberon: Act 3, No. 19. Cavatina: Traure, mein Herz,um verschwundenes Glueck! (Rezia)
Oberon: Act 3, No. 19. Cavatina: Reizendes Wesen (Almansor)
Oberon: Act 3, No. 19. Cavatina: Meine teure, geliebte Rezia! (Hueon)
Oberon: Act 3, No. 20. Rondo: Dort ist sie! Rezia! (Hueon)
Oberon: Act 3, No. 21. Chorus and Ballet: Fuer dich hat Schoenheit sich geschmuecket (Chor, Hueon)
Oberon: Act 3, No. 21. Chorus and Ballet: Lasst mich, oder ich brauche Gewalt! (Hueon)
Oberon: Act 3, No. 22. Finale: Horch! Welch Wunderklingen! (Sklaven, Hueon, Rezia, Scherasmin, Fatime, Oberon, Kaiser Karl)

Amazon.com

Musically and in its plot and atmosphere, Oberon owes something to Mozart's Magic Flute. But Mozart's crazy mixed-up masterpiece ventures just inside the borders of Romanticism. The last opera of Carl Maria von Weber (1786-1826) goes deeply into Romantic atmosphere and mystique. Its rather disjointed but colorful libretto magically takes a medieval French knight (tenor Peter Seiffert) and the Caliph of Baghdad's daughter (soprano Inga Nielsen) through a series of trials (shipwreck on a desert island, capture by pirates, enslavement, and sexual harassment) to test the strength of their love. The music is magnificent, looking ahead to Wagner as well as back to Mozart. Conductor Marek Janowski does it full justice, uses a better edition than his chief rival on records, Kubelik, and has a first-class cast. --Joe McLellan

Customer Reviews:

Wait for DGG.......2004-10-13

This is an OK recording, but I don't think it really does justice to what is admittedly a problematic score (and an even more problematic libretto). Although not yet released as of this writing, I think the DGG Kubelik/Nilsson/Domingo recording has more to offer vocally than this one. I don't agree that Inge Nielsen does "just fine" - rather more like "just OK." I'm not Nilsson's biggest fan, but she really carries the vocal demands better than Nielsen. And Domingo is fine too. Compare the two recordings if you can find a copy of the Kubelik - it's worth the time.

The best version of Weber's most problematic opera.......1999-12-17

While Freischutz has drama and movement, and Euryanthe a pre-Lohengrin fascination (its only recording is also by Janowski, starring Jessye Norman, Rita Hunter and Nicolai Gedda), Oberon presents problems. It's really a pastiche, long on dull dialogue trying to glue a series of numbers together. Some numbers are wonderful, notably "Ozean, du Ungeheuger,"that cavallo di battaglia of big, big sopranos taking time out from their Brunnhildes (Eileen Farrell and Birgit Nilsson -- who recorded the entire role -- both have versions). But Inge Nielsen (who recently released an impressive Salome)does perfectly fine, thanks, and in a voice no doubt closer to what Weber was composing for. Deon van der Walt is a thrilling young tenor, and Janowski -- a truly underrated conductor (as is Muti) -- does wonders with the score. If you like German opera from this era, pick it up (and if you can find it, pick up Marschner's Hans Heiling, too).

Essential early Romanticism!.......1999-08-10

If you like romantic German music from the 19th century (and, since you looked up this item, you surely must), this an essential link between the Beethoven era and the Wagner era. Buy Weber's "Der Freischutz" first - Kleiber's version - but then purchase this delectable performance of an opera that deserves further exploration.

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