After 15 years exploring the orchestral and chamber repertoire, I thought
it was about time that I got to know opera so I began this year.

Works numbers 16 and 17 on the list were Weber's 'Oberon' and Mozart's
'Magic Flute'.

The critics say that Oberon is a disjointed work with characters from
unrelated backgrounds.  They also point out that it contains miles of
dialogue.

They're right on both counts.  Though, neither of these is Weber's fault,
of course.  He was dying at the time and was presented with a duff libretto
to work with.  Some fine, seminal music was produced in spite of the
circumstances.  One can see how much Mendelsohn 'borrowed' for "A midsummer
Nights Dream" written one month later.  And, Wagner is said to have been
influenced, calling Oberon "the first German romantic opera".

Next up 'The Magic Flute'.  The critics sing this works praises calling it
a masterpiece.  I found differently.  Here again are miles of spoken word.
Here, also are somewhat disjointed mythological characters.

The music starts off well enough with an attractive overture.  In scene
two Papageno, the bird-catcher arrives with a catchy aria that features a
pan pipe motif.  From there on it's downhill all the way with bland music.
Later, the motif gets repeated so it sticks in one's head for days like
some annoying TV advert.

So it seems to me that these works have many of the same faults but Oberon
has the much better music.  (I can't help wondering what Weber would have
achieved had he lived longer.)

I'll play 'Oberon' often.  'Die Zauberflote' will gather dust on the shelf.

Once again a Mozart work disappoints me.  Still, maybe I'll find salvation
in the much praised "Marriage Of Figaro", "Cosi Fan Tutti" or "Don
Giovanni".

Somehow I doubt it!

Bob Draper
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