Given that the overtures of Weber may be easily gathered together on a single CD—absent early efforts like Das Waldmädchen (only fragments exist today) or the stillborn Rübezahl, later reworked as a concert overture, Der Beherrscher der Geister—I find it frustrating that this is only the second intégrale to enter the catalog, following Neeme Jarvi’s uneven survey for Chandos (Jan/Feb 1993)…Antoni Wit will have none of Jarvi’s reckless abandon; tempos in Oberon are bracing, yet pointed—likewise Euryanthe and Jubel. Even better, Wit brings out the Mozartean delicacy of Silvana and the genial good humor of Peter Schmoll where Jarvi mindlessly presses on; he captures the Handelian nobility of the opening pages of Jubel, the gravitas of Beherrscher der Geister, the yearning lyricism that suffuses much of Euryanthe. Yet at the same time he hammers home the Janissary percussion of both Abu Hassan and Turandot more aggressively than Jarvi—he fairly sets the ear ringing…overall the Naxos acoustics reveal considerably more detail than Chandos. Certainly, given the meager asking price I’d have no problem recommending this convenient grouping as an estimable starting point for any Weber collection.

Of particular interest in this collection of Weber’s uplifting overtures are those from Der Beherrscher der Geister, Turandot, Jubel and Silvana. Der Freischütz, Euryanthe and Oberon need little introduction.

Those overtures from the forgotten Weber operas have shed their obscurity in the opera house for favourite status in the concert hall. Following Beethoven and Mozart, Weber’s works for the stage were considered fresh, and seen to carry a blend of strong orchestral craftsmanship, coupled with inspired lyricism and this is evident from the overtures.

Descriptive, colourful opera overtures.