Heinrich, who has hardly had time to hide himself in the chimney, is driven out by his cousin's attempts to light a fire. He leaps down into the room and the terrified couple take him for no other than the Devil in person, Heinrich wearing his mask and being besides blackened by soot from the chimney. Perceiving his uncle's terror, he profits by it, and at once beginning a conjuration he summons the doll, that is to say Bertha in the doll's dress. Father and son are delighted by her performances, but when she opens her mouth and reveals a very wilful and wayward character, Cornelius is less charmed. The doll peremptorily asks for food, and Mephistopheles indicates, that it is to be found in the kitchen. While the worthy pair go to fetch it, Mephistopheles hastily exchanging words with his lady-love, vanishes into his sleeping room.
The doll now begins to lead a dance, which makes the toymaker's hair stand on end. She first throws the whole supper out of the window, following it with plate, crockery, toys etc. Then taking a drum, she begins to drill them, like a regular tambour-major, slapping their ears, mouths and cheeks as soon as they try to approach her.
At last, when they are quite worn out, she flies into the closet. But now the father's spirit is roused, he resolves to destroy his and the Devil's work; however he is hindered by Heinrich, who now makes his appearance, and seems greatly astonished at the uproar and disorder he finds in the middle of the night. He only wants to gain time for Bertha to undress and then escape.—
Resolutely the old man walks into the closet to slay the doll. But he returns pale and trembling, having destroyed her while asleep, and believing to have seen her spirit escape through the window with fiendish laughter.—Yet awed by his deed, he sees Heinrich returning who confesses to his uncle, that he has found out his secret about the doll, and that, having accidently broken it, he has substituted a young girl. Cornelius, half dead with fright, sees himself already accused of murder; his only salvation seems to lie in his nephew's silence and instant flight. Heinrich is willing to leave the country, provided his uncle give him back his heritage, which consists of 10,000 Thalers. After some vain remonstrances, the old man gives him the gold. Heinrich having gained his ends, now introduces Bertha, and the wicked old fool and his son see too late, that they have been the dupes of the clever nephew.—
OBERON.
Romantic Opera in three acts by WEBER.
English text by PLANCHE translated by TH. HELL.
Oberon is Weber's last work. In the year 1824 he had the honor of being commissioned to compose this opera for the Covent-garden theatre. He began at once to study English, but, his health giving way, he progressed slowly. Notwithstanding his illness however, he worked on and finished the opera in the year 1826. He had the happiness of seeing it crowned with success, when he travelled to London in February of that year, but he could not witness its triumphs in Germany, for he died in the following July.
The text is most fantastic without any strict order of succession either in the matter of time or locality. It is taken from Wieland's fairy-tale of the same name.
In the first act we find Oberon, the Elfin-king in deep melancholy, which no gaiety of his subjects, however charming, avails to remove. He has quarrelled with his wife Titania, and both have vowed never to be reconciled, until they find a pair of lovers, faithful to each other in all kinds of adversity. Both long for the reunion, but the constant lovers are not to be found.