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Updated: May 15, 2025
Weber's rare artistic conscientiousness is indicated by the fact that at this time, although he felt that his end was approaching, he set to work to learn the English language in order to avoid mistakes in adapting his melodies to the accent of the words and the spirit of the text.
But whereas Weber was a factor in the Romantic movement when it was most magnificently unreasonable, Wagner came later, and, though he felt the force of the current, it did not carry him into the absurdities that weaken for they do weaken much of Weber's work.
He had just perceived that Mazeroux also was surrounded by men who were holding him tight. And the poor sergeant stood silently shedding tears. Weber's liveliness increased. "You'll have to excuse him, Lupin. Sergeant Mazeroux accompanies you to prison, though not in the same cell." "Ah!" said Don Luis, drawing himself up. "Is Mazeroux put into jail?" "Prefect's orders, warrant duly executed."
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.
She was not capable of sustaining a breve properly, and having no messa di voce, she could not dwell on her notes; in short, she sang with skill, but devoid of intelligence. Madlle. Weber's singing, on the contrary, goes to the heart, and she prefers a cantabile.
At Weber's advice they withdrew to a cluster of vines growing near, where they would be well hidden, since their signal was as likely to draw enemies as friends. "I think Lannes will surely see that flag," said Weber. "Why do you have such great confidence in his coming?" asked John. "He inspires confidence, when you see him, and there's his reputation.
Above all, he got rid of Weber's stage villains for Samiel is merely the stage villain of commerce; and, instead of the dusk and shadow in which Weber's fancy loved to roam, he gives us sunlight and the sweet air.
Weber's severe and bitter criticisms were not forgiven by the Franco-German composer.
Among the principal interests of my London life at this time was the production at our theater of Weber's opera, "Der Freyschütz." Few operas, I believe, have had a wider or more prolonged popularity; none certainly within my recollection ever had any thing approaching it. Several causes conduced to this effect.
Naturally they reacted upon the composer himself, and under their influence and the spirit which they did so much to foster Weber's Germanism developed from an emotion into a religion. He worked with redoubled zeal in behalf of German opera at Prague, and when he was called to be Court Music Director in Dresden in 1817, he entered upon his duties as if consecrated to a holy task.
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