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The reception of Der Freischütz surpassed Weber's own hopes and it quickly became an international success, with productions in Vienna the same year followed by Dresden, Leipzig, Hamburg, Munich, Karlsruhe, Königsberg, Prague, other German centres, Riga and Copenhagen. 1824 saw productions in four London theatres in four different adaptations, as well as an inadequate [8] adaptation by ...
On the morning of the Der Freischütz premiere, Weber played the Konzertstück through to his wife Caroline and his pupil Julius Benedict, and told them the program: [1] (F minor; Larghetto affetuoso): "A châtelaine sits alone on her balcony, gazing off in the distance. Her knight has gone on a Crusade to the Holy Land.
Der Freischütz came to be regarded as the first German opera, [2] Euryanthe developed the leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures.
Carl Maria von Weber in 1821. The following is a complete list of compositions by Carl Maria von Weber in order of both opus number and catalogue number. A complete chronological catalogue of Weber's works was compiled by Friedrich Wilhelm Jähns and published in 1871.
Weber dedicated Invitation to the Dance to his wife Caroline (they had been married only a few months). [1] He labelled the work "rondeau brillante", and he wrote it while also writing his opera Der Freischütz. It was the first concert waltz to be written: that is, the first work in waltz form meant for listening rather than for dancing.
He experimented with films of himself conducting (such as in his only recorded performance of Weber's overture to Der Freischütz) as a tool in "orchestral training". [ 2 ] He was married five times, to Marie Juillerat (in 1891), Baroness Feodora von Dreifus (1903), mezzo-soprano Lucille Marcel (1912; died in 1921), actress Roxo Betty Kalisch ...
Der Freischütz, his most famous and significant work, remains among the most revered German operas. [6] After his family moved to Munich in 1798, the 13 year old Weber began study with Johann Nepomuk Kalcher, under whose supervision he wrote his first opera, the Singspiel Die Macht der Liebe und des Weins; the work was never performed.