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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.
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.
Freischütz is a German compound word, consisting of frei (' free ') and Schütz (' shooter ' or ' rifleman '). There are several theories that try to explain why the word frei is used. One is that it has a military origin, perhaps from terms like Freikorps (independent ' free- corps ' regiments), or the French franc-archer ( ' free-archer ' ).
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.
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Besides Der Freischütz, he wrote the play Das Nachtlager von Granada (1818), which later became the model for Karl Johann Braun von Braunthal's libretto for Conradin Kreutzer's opera Das Nachtlager in Granada (1833). He also wrote Der Holzdieb (set to music by Heinrich Marschner).
Move over, Wordle, Connections and Mini Crossword—there's a new NYT word game in town! The New York Times' recent game, "Strands," is becoming more and more popular as another daily activity ...
The Wild Hunt is the subject of Transcendental Étude No. 8 in C minor, "Wilde Jagd" (Wild Hunt) by Franz Liszt, [78] and appears in Karl Maria von Weber's 1821 opera Der Freischütz [79] and in Arnold Schoenberg's oratorio Gurre-Lieder of 1911. [80]