Abstract
T HE course of opera between Der Freischiitz and Lohengrin is one of the unexplored territories of musical history. One would think that the remarkable success of Weber's apotheosis of forest and glade, which, by almost universal agreement, set the tone for the Romantic lyric stage, would have ended the search for a truly counterpart of Italian yet Schumann still bewails the absence of German opera, and of the numerous works composed during the two generations after Der Freischiitz less than a handful are rememberedor even heard of. Weber himself is a victim of this oblivion, his later operas, Euryanthe and Oberon, being known only for their fine overtures. As to the chief rival of Wagner-for this Lortzing was, in spite of the great difference in their musical talent and artistic philosophynothing is known by or about him outside of Germany. It is quite typical of our time that such lacunae in our musical awareness should be filled
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