Composer: Carl Maria von Weber
Works: Peter Schmoll and his Neighbours (1802)
Performers: Hagen Philharmonic Orchestra/Gerhard Markson
Recording: Hagen, 1993
Label: MARCO POLO 8.223592-3 [91.48] midprice
Carl Maria von Weber occupies a significant, albeit sometimes overlooked, position in the pantheon of early Romantic composers. His opera Peter Schmoll and his Neighbours, composed when Weber was just fifteen, showcases a youthful exuberance that foreshadows the maturity of his later masterworks such as Der Freischütz. This recording from the Hagen Philharmonic Orchestra under the baton of Gerhard Markson provides a fresh opportunity to engage with an opera that is often relegated to the periphery of the repertoire, primarily outside German-speaking regions. Weber’s early forays into opera reveal not only the influence of Mozart, whose stylistic fingerprints are evident, but also a budding individual voice that would later become more pronounced.
Markson’s interpretation of the score invites listeners to appreciate the lightness and charm that permeate Weber’s musical language. The orchestra’s playing is marked by clarity and precision, with particular attention paid to the delicate textures that Weber employs. For instance, the opening trio (track 2) showcases a buoyant interplay of voices that recalls the elegance of Mozartian ensembles, yet hints at Weber’s own distinct melodic flair. The blend of strings and woodwinds in this section is executed with a buoyancy that captures the opera’s youthful spirit. The duet featuring prominent woodwind lines (track 8) exemplifies Weber’s knack for integrating instrumental color into vocal writing, creating a delightful aural tapestry that enhances the lyricism of the singers.
The sound quality of this recording is commendable, particularly for a midprice label. The engineering effectively captures the balance between orchestra and soloists, allowing the nuanced orchestration to shine without overpowering the vocal lines. The recording’s spatial quality helps to convey the intimacy of the opera’s smaller-scale orchestration, which is integral to its charm. While the original libretto suffers from some narrative clumsiness, the adaptation used here strives to retain the spirit of Weber’s music, even if it does not entirely rescue the operatic plot from its somewhat pedestrian roots.
The performance of the soloists is engaging, with each singer demonstrating commendable vocal technique and a keen sense of ensemble. Their interactions in the numerous duets and trios are lively, reflecting the camaraderie portrayed in the story. While familiarity with German would enhance the experience by providing access to the dialogue, the musicality of the performers allows the listener to appreciate the work’s emotional arc even without full comprehension of the text. The liner notes are informative, providing context about the opera’s composition and Weber’s early influences, which enriches the listening experience.
This recording of Peter Schmoll and his Neighbours serves as a valuable reminder of Weber’s early potential and the delightful nature of his operatic style. The combination of Markson’s insightful direction, the Hagen Philharmonic’s spirited performance, and the overall sound quality render this work both accessible and rewarding. It invites a reevaluation of Weber’s early contributions to the operatic canon, encouraging listeners to embrace this charming piece that deserves its place in the broader narrative of early 19th-century music. A splendid revival that vividly illustrates the burgeoning talents of a composer who would come to shape the operatic landscape.
