To what extent is Der Freischutz a typical example of German opera?

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Der Freischutz is a singspiel with 3 acts, based on folk legends, with supernatural themes such as the
devil and magic integral to the story. Both of these features were popular in German opera, as was
the sonata form of the opening number of the opera - the overture - which was popular in German
opera, favoured by other composers such as Mozart in the magic flutes. However, one feature of Der
Freischutz that is less typical of German opera is the use of a stage band, therefore making the
musicians visible, and acknowledging them – not usually

Another popular feature in German opera is the introduction of features of symphonic music into
the opera, shown in number 10, the finale, where there is an extended orchestral introduction, and
continued focus on the orchestra throughout the number. This larger role of the orchestra however,
is not typical of German opera, where the focus would usually be solely on the singers as the stars,
whereas in this number, the singing is either choral or spoken (spoken dialogue becoming more
popular in German opera) with the orchestra as the focus, setting the scene and creating
atmosphere. In this number, there are also a number of reminiscent motifs, referencing characters
or a particular scene, which is a key feature of German opera. Examples of this are: page 77, bar 4,
which is a reference to the overture, page 80, stanza 3, bar 5 – taken from Kaspers drinking song,
page 81, last stanza, bar 2, and page 82, stanza 2, bar 2, referencing the mocking motif from earlier
on in the opera.

In the opening number of act 2, the duet between Agathe and Annchen, the characters are
contrasted, and their difference in social standing and perspectives are shown through musical
ideas, key to German opera. For example, Annchen often has faster lines – for example, page 48, last
system, 5th bar – with lots of semiquavers and quavers, in comparison to when Agathe first enters,
where the melody slows down, with dotted crotchets, before quickly returning to Annchens faster
lines, on the 1st page, 4th system, with the orchestral lines also following these changes in speeds.
There are also rhythmic differences within these changes of speeds, with Annchen’s lines often
including dotted rhythms, perhaps to reference dance rhythms, and to enforce her more lively and
optimistic character.
As well as changes in speed, articulation and ornaments are used to reflect character traits – for
example, on the 1st page, 4th system, Annchen is staccato, contrasting to Agathe’s legato and slurred
line, perhaps to reflect Annchen’s lively nature, as opposed to Agathe’s more serious and sombre
character. Annchen is also more ornamented – page 47, 5th system, bar 3 – than Agathe, again to
perhaps make her line more dancelike, to reflect her optimistic character. More of this dancelike
character is shown with Annchen often doubled by woodwind, linking to folk characteristics.

The tonality of the duet also changes with characters, with Agathe changing the key from A major to
G sharp minor, before Annchen quickly brings back the major key, to almost reassure Agathe. The
more positive and reassuring character is also brought out through Annchen’s ascending lines
contrasting Agathe’s descending lines, perhaps to show their contrasting optimism and pessimism
surrounding the situation.

However, this duet is not all typical of German opera, as it is the first time that we have seen Agathe
in the play, but it is not an entrance aria, with Agathe’s aria being the next number in the opera,
after a simple arietta from Annchen.
This aria is in double aria form, typical of German opera tradition, however, in the beginning, there is
lots of recitative and it is close to cantabile – more typical of the Italian opera style. There is a tempo
di mezzo, and a cabaletta, but in the cabaletta, the orchestral music is more important than the
singer, which is not typical of the style at all, usually solely focused on the star – the singer. However,
in this passage – page 61, 3rd system, and page 62 – there is a very important reminiscent motif from
the overture that means that there is more focus on the orchestra.