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Beethoven was genial and kindly, and the younger man was deeply impressed by the master's reception of him. Euryanthe proved a failure and Weber called again to ask Beethoven's advice as to remodelling the work.
Weber kept ever at work. Two years after the production of "Der Freischütz" the opera of "Euryanthe" was completed. The libretto was the work of a half demented woman, Helmine von Chezy, but Weber set out to produce the best opera he was capable of, and to this story he has joined some wonderful music.
More significant still are the words which Weber wrote to Fran von Chezy when she was writing the libretto for "Euryanthe;" which he intended to make better than all his previous works.
Schröder-Devrient had bitter occasion to regret that she had tied her fortunes to a man utterly unworthy of love and respect. She remained for several years at Dresden, and among other operas she appeared in Weber's "Euryanthe," with Mme. Funk, Herr Berg-mann, and Herr Meyer.
Berlioz showed clearly in Les Troyens his intention of approaching Gluck, while Wagner freely avowed his indebtedness to Weber, and particularly to the score of Euryanthe. He might have added that he owed something to Marschner, but he never spoke of that. The more we study the works of these two men of genius, the more we are impressed by the tremendous difference between them.
Adolar then leaves Euryanthe to perish, declaring that he has not the heart to kill her. She is found in a dying condition by the King, whom she speedily convinces of her innocence. Meanwhile Adolar has returned to Nevers, to encounter the bridal procession of Eglantine and Lysiart.
A solemn torchlight procession was to be formed, and I had undertaken to see to the funeral music. I arranged this from two motives out of Euryanthe, using that part of the music in the overture which relates to the vision of spirits.
The rehearsing and con-ducting of the Fliegender Hollander were willingly handed over to me, because Reissiger was overwhelmed with work, in consequence of the death of the musical director, Rastrelli. In addition to this I was asked to conduct Weber's Euryanthe, by way of providing a direct proof of my capacity to interpret scores other than my own.
In this tomb rests the body of Emma, Adolar's sister, who had killed herself, and whose ghost had appeared to Euryanthe and her lover with the declaration that she can never be at peace until tears of innocence have been shed upon the ring which was the agency employed in her death.
"'Euryanthe," he says, "is a purely dramatic work, which depends for its success solely on the co-operation of the united sister-arts, and is certain to lose its effect if deprived of their assistance."
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