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- The opera was instantly popular. Its supernatural elements were much in vogue at the time, and its powerful depiction of the struggle between good and evil seized the emotions. International productions soon followed, as did parodies by other composers, a sure sign of popular appeal.
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Mar 2, 2020 · Wagner’s advocacy of Der Freischütz helped cement Weber’s opera in Germany’s national cultural heritage, a work at the forefront of the Romantic movement which steered German opera into new terrain – albeit a direction which vindicated Wagner’s own views about where the art form should be heading.
- Mark Pullinger
Der Freischütz (J. 277, Op. 77 The Marksman [1] or The Freeshooter [2]) is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind, based on a story by Johann August Apel and Friedrich Laun [3] from their 1810 collection Gespensterbuch.
- Overview
- Background and context
- Cast and main vocal parts
- Setting and story summary
- Act I
- Act II
- Act III
Der Freischütz, (German: “The Freeshooter” or “The Marksman”) Romantic opera in three acts by Carl Maria von Weber that is widely considered one of the first German masterpieces in the world of opera. Its German libretto by Johann Friedrich Kind is based on a story by Johann August Apel and Friedrich Laun. The opera premiered in Berlin on June 18, ...
Weber was involved in opera early in his short life (he died before reaching 40). He was running the main opera house in Prague by age 30, and he then moved on to Dresden. He championed German opera, which diverged from Italian opera as personified by Gioachino Rossini. Not only was German opera sung in German, but it also was based in German legend and literature and borrowed the rich emotional styles familiar from German symphonic works. Weber came to represent German opera long before Richard Wagner took the mantle.
Der Freischütz was the most acclaimed of Weber’s completed operas, fewer than a dozen. It is a dark tale of a young forester who finds himself, unknowingly, in league with the Devil as he attempts to win a shooting contest so as to earn his girlfriend’s hand in marriage. The opera was instantly popular. Its supernatural elements were much in vogue at the time, and its powerful depiction of the struggle between good and evil seized the emotions. International productions soon followed, as did parodies by other composers, a sure sign of popular appeal.
•Agathe, Max’s beloved and the head forester’s daughter (soprano)
•Cuno, the head forester and Agathe’s father (bass)
•Ännchen, Agathe’s cousin (mezzo-soprano)
•Caspar, another forester (bass)
•Max, a young huntsman and the main protagonist (tenor)
•Samiel, the Devil, or “Black Huntsman” (speaking role)
Der Freischütz takes place in a German forest and village during the mid-17th century.
A shooting contest has just concluded. Against all odds, the forester Max, the region’s best marksman, has been bested. He also is distraught because another contest is set for the next day, and the prize is to be the hand in marriage of his beloved Agathe. It is revealed that Max lost the first day’s contest to Kilian, a rival for Agathe’s hand, because Caspar enlisted supernatural help to ensure that Max would shoot poorly.
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From Cuno, Agathe’s father and the head forester, the gathered crowd hears the legend of the “free bullets,” supplied by the Devil and sure to hit their targets. Supposedly, the freeshooter will have seven shots, six under his own control and one under the Devil’s.
In her father’s woodland home, Agathe worries about the results of the shooting match while her cousin Ännchen tries to cheer her. Agathe prays for Max’s safety and rejoices when she sees him approaching. He tells the young women that he intends to visit the famously ominous Wolf’s Glen, and the two are unable to dissuade him from this plan.
Reaching Wolf’s Glen before Max, Caspar summons Samiel, the Devil. Having already sold his own soul, Caspar now offers Max’s to the Devil. They reach a bargain by which Agathe is intended to fall victim to the last of the magic bullets. Max arrives and experiences haunting visions. Ghostly images appear, and the bullets are forged. Samiel is summoned.
Agathe prays for heaven’s protection. She relates a troubling dream in which she is a white dove and Max himself guns her down. Ännchen and Agathe’s bridesmaids attempt to cheer and reassure her.
Festive hunting music announces the start of the shooting competition. Presiding over the event, Prince Ottokar challenges Max to shoot a white dove that has appeared. Agathe cries out for him not to shoot, but she is too late. The bullet is on its way. Agathe falls—in a faint. Evil Caspar falls too, and with his last breath he curses Samiel, who sent the bullet his way.
- Betsy Schwarm
In addition, Der Freischütz surpassed its Singspiel basis since the orchestra is given a greater role, something Weber had admired in Cherubini and Méhul. Weber never again tried anything as closely derived from popular shows as the “Wolf’s Glen” scene.
Jun 18, 2017 · Shining brightest above these is “Der Freischütz,” the opera that had such a massive effect on the young Richard Wagner. The opera had its premiere on June 18, 1821, and has had a mixed life in the repertoire.
Jun 19, 2020 · Der Freischütz is a Singspiel, the traditional German spoken play-cum-opera. For its first audiences, Aldrich writes, the Singspiel was “a return to an old and native form of German opera that had been crowded out by the importations from Italy and France”.
And little wonder it was: In an age with a popular yearning for cultural, national identification opportunities, Der Freischütz offered a projection surface for an ideal community. So what about this opera appeals to director Dmitri Tcherniakov today?
