Weber was at the forefront of the new musical
romanticism, particularly in the style and field of German
Romantic Opera. The ability of his overtures to capture the
spirit of the operatic plots, often magically supernatural,
that succeeded them, was just one of the reasons why his achievements
in the theatre were so significant. It also contributed to
the strength of the overtures in making their own way in the
world as part of the concert repertory.
Even so early a piece as Abu Hassan (1811)
confirms Weber’s genius, admittedly on the smaller scale.
There is wit in abundance, pointed up with delightful rhythmic
freshness. Here as elsewhere Gustav Kühn and the Dresden Orchestra,
surely the most idiomatic of ensembles in this music, capture
the mood to perfection. The quality of the playing is very
fine throughout.
In the more substantial numbers the challenges
of interpretation are of course greater, but the performances
still pass muster: Euryanthe and Oberon are
excellent too. Undoubtedly the recording engineers deserve
a share of praise for this. As so often with this company,
however, the programme book might have benefited from a second
view during the editing process. The notes are adequate enough,
if rather slim, but the print, although not as small as it
might be, is set against a grey ‘designer’ background that
impedes the reader’s ability to penetrate it.
The programme of overtures is strongly profiled
in this collection, and while the intention cannot be for
listening during a single sitting, there is a good balance
between strongly established pieces and those that are less
well known but also worthy of attention. For this reason above
all, these appealing and well recorded performances can be
enthusiastically recommended.
Terry
Barfoot
for
details 
Dresden Staatskapelle/Gustav Kühn
[66.16]
