Schubert (1797-1828) wrote many works for the stage--romantic operas
like 'Fierrabras' and 'Alfonso und Estrella,' operettas like 'Der
haeusliche Krieg,' and farces like 'Die Zwillingsbrueder.' Most of them
were saddled by inane libretti, and though occasionally revived by
enthusiastic admirers of the composer, only prove that Schubert's talent
was essentially not dramatic, however interesting his music may be to
musicians.
Schumann's (1810-1856) one contribution to the history of opera,
'Genoveva,' is decidedly more important, and indeed it seems possible
that after many years of neglect it may at last take a place in the
modern repertory. It is founded upon a tragedy by Hebbel, and tells of
the passion of Golo for Genoveva, the wife of his patron Siegfried, his
plot to compromise her, and the final triumph of the constant wife. The
music cannot be said to be undramatic; on the contrary, Schumann often
realises the situations with considerable success: but he had little
power of characterisation, and all the characters sing very much the
same kind of music. This gives a feeling of monotony to the score, which
is hardly dispelled even by the many beauties with which it is adorned.
Nevertheless 'Genoveva' has been revived in several German towns of late
years, and its music has always met with much applause from
connoisseurs, though it is never likely to be generally popular.
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