FREISCHUTZ, Der, romantic opera in three acts by Carl Maria von Weber (libretto by Friedrich Kind) first produced at Berlin, 18 June 1821. Founded upon a popular fairy story, the plot has an atmosphere of mediaeval romanticism heightened many degrees by its musical investiture. Max, a skilful marksman, is betrothed to Agatha, daughter of the head ranger of the Prince of Bohemia. Caspar, who has sold himself to the demon Zamiel, is also in love with Agatha and plots to ruin Max and deliver him over to the Evil One in sub stitution for himself. He persuades Max to accept his aid to procure magic bullets to win him success in the coming trial upon which his future rests. At the Wolf's Glen, Max joins Caspar and receives from Zamiel seven silver bullets, six for himself and one to be at the demon's disposal. On the eventful day, Max fires his six successful shots. At the Prince's command, he fires the seventh, Zamiel's bullet, at a passing dove. It appears to him as Agatha; but her bridal wreath protects her and Zamiel directs the bullet to Caspar's heart. No opera has a history of greater popular suc cess and none is nearer to the German heart than 'Der Frieschfitz) with its folk-spirit and thoroughly national emotional expression. It was the foundation stone of a new school of opera that has vitally influenced the trend of the art even to the present day. The sug
gestive and descriptive power of the music, the intimate connection between the orchestra and the stage, the rich hues of the instrumental color and the telling and novel orchestral effects, notably in the melodramatic scene of the casting of the magic bullets, form a land mark in the history of the development of music. Wagner's debt to Weber, readily ac knowledged by him, was immense. Berlioz, too, learned much from his use of the orchestral instruments. The opera is full of ingratiating melody of a popular nature, much of it pure folk-music (for example, the °Peasants' March" and the °Waltz" in the first act) and all of it expressive of what has come to be known as German romanticism in music. The overture is a model of orchestral scoring, rich, effective and spontaneous. Agatha's great scene and aria "Wie nahte mir der Schlummee is the musical high-water mark of the opera and in its great variety of moods and rhythms, closely welded, is a clear presage of the continuous music of a later day. The chorus of bridesmaids and the huntsman's chorus in the third act are sung at least wherever German is spoken; and there are many other numbers scarcely less close to the hearts of the people.