The only Froeben character I 'encountered' is Froeben in Die Bettlerin vom Pont des Arts (The Beggar of the Pont des Arts) by Karl von Kaskel, book by Ludwig, after Hauff (Cassel, 1899).
Musical mood-pictures influenced by Italian verism, with dramatic Overture, melodious ““Song of the Kiss (Act II), and graceful rococo pantomime music. (Prologue.) Josefa, a young beggar girl sings on a Paris bridge, the Pont des Arts (1823), while gay masqueraders pass. Compassionate Froeben gives her money to buy medicine for her sick mother, and the charming mendicant tells how her father, who left to fight for Napoleon in Spain, never returned home. It is love at first sight. A kiss, a ring, a vow are exchanged, but honor and duty intervene — the girl disappears in the crowd. In a Stuttgart hotel (Act II) Don Pedro, an old Spanish officer, vainly seeks wife and child. Meeting Froeben in a picture gallery they recognize in the same picture, one his child, the other the beggar of the Pont des Arts. In vain Froeben seeks to stifle romantic longings for her by a visit to his friend Faldern’s Rhineland estate. There he finds (Act III) the beggar girl installed as his friend’s wife. His innocent farewell to Josefa, surprised by Faldern, leads to a duel. Don Pedro, still seeking his family, intrudes at the psychological moment and saves wounded Froeben by killing his host. Froeben, thinking himself Faldern’s slayer (Act IV), hesitates to marry Josefa, though she loves him. But her father (they are staying at Countess Landskron’s Rhenish castle) relieves his scruples, and the lovers join hands in the final chorus: “Love is over all!”