WeGA, Rezeptionsdokumente, Digitale Edition
author: anonym
source date: 16. Oktober 1824
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

COVENT GARDEN.

[...] [...]

The popularity which attended the production of Der Freischütz at the English Opera, has, it should appear, induced the Managers of this theatre to bring it once more before the public. The present version of the story differs in some few particulars from the piece we have recently noticed at the other house [Während im English Opera House die Bearbeitung von W. McGregor Logan and W. Hawes gespielt wurde, war die Oper für das Covent Garden Theatre von J. Planché und B. Livius arrangiert worden.], the principal of which is, that Killian, the successful peasant, is selected by Caspar as the instrument of his vengeance, instead of his brother Yager, and assists him in the casting of the magic bullets. The incidents which lead to the catastrophe are also slightly changed, inasmuch as the trial shot, before it destroys the guilty Caspar, strikes the bride, but fails to do her any injury in consequence of a wreath of white roses, the gift of a pious hermit, that adorns her hair, the wearer of which was to be absolutely safe from all dangers and disasters. Some of the songs, likewise, which were in the other piece, are omitted, and others introduced into their places. Of the performance of Thursday we have little to say, as the actors of the three characters which are of the greatest importance are, in their respective parts, already familiar to the audience. Miss Paton was in fine voice, and in the grand scene in the second act displayed her high musical attainments to the greatest advantage. This composition, which is both long and difficult of execution, was much admired, and deservedly received a full tribute of applause. Pearman, in Rodolph, or Whilelm, as he is here called, had less to do than heretofore, but he took considerable pains, and gave one or two of his songs with spirit and good taste. Bennett was, as usual, rather dull and tedious in Caspar, but he played the incantation scene with his accustomed energy. Blanchard and Keeley are also entitled to favourable notice, although the jokes they favoured us with were none of the newest. The latter had a very good drunken scene, to which he did ample justice. The scenery is all of it of the most beautiful description; indeed it is hardly possible to praise it sufficiently. We were particularly struck with one of the sylvan scenes and the interior of the ranger’s cottage. The machinery worked well, and was of ingenious contrivance, and fire and brimstone were in great abundance.