Oberon
Opera: Weber Series

Music Carl Maria von Weber: Oberon (Concert performance)
Performers Barry Banks (Oberon); Elizabeth Whitehouse (Rezia); Peter Bronder (Huon); Jane Irwin (Fatima); Garry Magee (Sherasmin); Anna Burford (Puck); Karen Cargill (Mermaid); Graham Valentine (Narrator). Scottish Opera Chorus, Piers Maxim (Chorus Master) Scottish Opera Orchestra, Anthony Moffat (Leader), Sir Richard Armstrong (Conductor)
Venue Usher Hall
Address Lothian Road
Reviewer Iain Gilmour

Sir Richard Armstrong

The dismissive Scots phrase "He's awa' wi' the Fairies" could be an apt description of Weber and his final opera Oberon were it not for the quality of the music.

Premiered in London under Weber's direction a scant six weeks before the German composer's death there from tuberculosis, the opera has a memorable - and frequently performed - overture with themes that crop up later in the work.

But the opera has few noteworthy arias and the English libretto is best forgotten.

The libretto is based on a translation of Oberon by the German rococco poet Christoph Wieland, itself based on a medieval French chanson, with the addition of Shakespeare's Fairy King Oberon and the mischievous Puck. The end product appears more fitted for pantomime than opera. The Festival audience was further confused by finding the libretto printed higgledy-piggledy in the programme.

The action flits from Oberon's bower in Fairyland to France, Baghdad, a ship, a rocky Mediterranean island, and Tunis. It ends triumphantly in the court of Charlemagne.

The hero Huon and heroine Rezia are saved at crucial moments from death, storms, shipwreck, pirates, and slavery by the magic horn given to Huon by Oberon. Reunited, they are feted at Charlemagne's court.

Scottish Opera Orchestra © Christopher Bowe

The evening was saved by the romantic music, well-played by the orchestra under the energetic direction of a baton-less Richard Armstrong. A droll, occasionally humorous, narration spoken by Graham Valentine set the successive scenes and moved the action forward.

Cameo roles sung by Anna Burford (Puck) and Karen Cargill (Mermaid) were a notable success, as was the compelling performance of the small Scottish Opera chorus -- all of them under threat of losing their jobs and 12 making their last appearance with the company.

Of the principals, Jane Irwin (Rezia's handmaid Fatima) was consistent, with excellent phrasing and tone. Barry Banks (Oberon) made the most of his big second act aria From boyhood trained in battlefield.

Peter Bronder (Huon) and Garry Magee (Huon's squire Sherasmin) were on the whole not much more than adequate, with Bronder in particular failing to fulfil the promise of his Act 1 aria O 'tis a glorious sight to see.
The big disappointment was Elizabeth Whitehouse. Rezia's big set piece Ocean thou mighty monster had a promising start but fell short later.

"She didn't quite hit the high notes, did she?" said one woman as she left the Usher Hall. "No," replied her companion. "Neither did the opera."

© Iain Gilmour August 20 2004. Published on www.EdinburghGuide.com