ming melodies, full of Spanish color, life and vivacity. Nowadays
the opera is neglected, but we often hear the overture. It is to be
noted that the overtures to each of Weber's operas contain the leading
themes and melodies of the operas themselves, showing with what skill
the artist wrought. When Weber's widow presented the original score
of "Der Freischuetz" to the Royal Library in Berlin, it was found there
was not a single erasure or correction in the whole work.

On June 18, 1821, came the first performance of Weber's masterpiece,
"Der Freischuetz." The theater was beseiged for hours by eager crowds,
and when the doors were at last opened, there was a grand rush to
enter. The whole house from pit to galleries was soon filled, and
when the composer entered the orchestra, there was a roar of applause,
which it seemed would never end. As the performance proceeded, the
listeners became more charmed and carried away, and at the close there
was a wild scene of excitement. The success had been tremendous, and
the frequent repetitions demanded soon filled the treasury of the
theater. Everybody was happy, the composer most of all. The melodies
were played on every piano in Germany and whistled by every street
urchin. Its fame spread like lightning over Europe, and quickly
reached England. In London the whole atmosphere seemed to vibrate with
its melodies. In Paris, however, it did not please on first hearing,
perhaps because it was so thoroughly German. But somewhat later, when
renamed "Robin des Bois,"--"Robin of the Forest,"--it was performed
some three hundred and fifty times before being withdrawn.

Weber kept ever at work. Two years after the production of "Der
Freischuetz" the opera of "Euryanthe" was completed. The libretto was
the work of a half demented woman, Helmine von Chezy, but Weber set
out to produce the best opera he was capable of, and to this story he
has joined some wonderful music. It was his favorite work; he wrote
to his beloved wife two hours before the first performance: "I rely
on God and my 'Euryanthe.'" The opera was produced at the Kaernthnertor
Theater, in Vienna, on October 25, 1823. The composer, though weak and
ill, made the long journey to the great city, that he might personally
introduce his favorite to the Viennese. He wrote his wife after the
performance: "Thank God, as I do, beloved wife, for the glorious
success of 'Euryanthe.' Weary as I am, I must still say a sweet good
night to m