Overview
Synopsis
Deeply in debt to Omar, a moneylender, Abu Hassan and his wife come up with a scheme to fake their deaths in order to extract funeral money from the Caliph. Meanwhile, Omar tries to woo Hassan’s wife, Fatime, in exchange for canceling the debts. She gives him a noncommittal answer to evade his advances, making him angry. When the Caliph visits Hassan’s home and finds Hassan and his wife sitting on the couch, he is greatly confused. He offers one thousand gold coins to anyone who can say which of the two died first. Hearing this, Abu Hassan sits up abruptly and thanks the caliph, saying that it is he himself who died first and that he was revived because of Harun's virtue and supremacy. Subsequently, Fatime resuscitates and the Caliph gives Hassan one thousand gold coins as promised. Finally, Omar is hauled off to jail.
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Context
Carl Maria von Weber composed Abu Hassan in 1811, early in his career, when he was still establishing his reputation as a composer of German opera. Written as a one-act comic opera in the Singspiel tradition, it blends spoken dialogue with musical numbers, making it accessible to audiences of the time who were familiar with lighter, popular theatrical entertainment. The work draws inspiration from the Arabian Nights tales, reflecting the European fascination with Orientalism during the 19th
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Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Tenor, Baritone |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Male |
Bass |
|
|
Supporting |
Female |
Mezzo-Soprano, Soprano |
|
|
Supporting |
Male |
Bass, Baritone |
Songs
Act I
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
A comedic form of opera that developed in the 18th century, featuring everyday characters and humorous plots. It contrasts with the more serious opera seria.
Orientalism is a Western artistic and literary approach that depicts Eastern cultures as exotic, mysterious, or idealized. It often relies on stereotypes and imaginative reinterpretations rather than accurate representation. In theatre and opera, Orientalism shaped settings, costumes, and storylines that reflected fascination with the “other.”
Rapid and rhythmic speech or singing, often used in comic opera roles or musical theatre for humorous effect.
A Singspiel is a German opera form that alternates spoken dialogue with musical numbers, often blending comedy with romance or fantasy. It developed in the 18th century as a popular alternative to more formal opera styles, appealing to middle-class audiences. Many Singspiele combine lively folk-inspired melodies with fast-paced, theatrical storytelling.
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Themes, Symbols & Motifs
Themes
Debt and Financial Struggle
At the heart
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