Opera Books
The Standard Operas
By George P. Upton
1928
FLOTOW (FRIEDRICH VON)
“MARTHA,”
opera in three acts, libretto by St. Georges, translated into German by Friedrich, was
first preduced at Vienna, November 25, 1847, with Mile. Anna Zerr in the title role, Herr
Ander as Lionel, and Carl Formes as Plunkett. It was first produced in English and Italian
at London in 1858, and in French at Paris in 1865. The history of its origin is
interesting. M. de St. Georges, at the request of the manager of the Paris Grand Opera,
wrote, in 1842, the libretto to a ballet entitled “Lady Henrietta, or the Servant of
Greenwich,” the subject being suggested to him by the adventures of two ladies of his
acquaintance who had mingled with servants at a fair. The music was confided to three
composers. The first act was given to Herr von Flotow, the second to Herr Burgmuller, and
the third to M. Deldeves. The ballet had such a remarkable success, and Flotow was so
delighted with the plot, that he entreated St. Georges to rewrite it for an opera. The
latter consented, and the result of their collaboration was the appearance of one of the
most popular operas which has ever been placed upon the stage.
The scene of the opera is laid at Richmond, England, and the
time is during the reign of Queen Anne, though the Italian version places it in the
fifteenth century, and the French in the nineteenth. Lady Henrietta, an attendant upon the
Queen, tired of the amusements of court life, contrives a plan to visit the servants’
fair at Richmond disguised as a servant-girl, and accompanied by Nancy, her maid, and Sir
Tristan, her somewhat aged cousin, who is also her devoted admirer. In the first three
scenes their plans are laid much to the disgust of Sir Tristan, who is to pass as John,
while his fair cousin masquerades as Martha. The duet between the ladies (“Of the
Knights so brave and charming”) and the trio with Tristan, are in dance time, and
full of animation. The fourth scene opens in the market-place at Richmond, where the
people are gathering to the fair. Thither also resort Plunkett, a farmer, and Lionel, his
brother by adoption, whose parentage is unknown, and who has no souvenir of his father
except a ring which has been left for him, with instructions to present it to the Queen if
he ever finds himself in trouble. Lionel tells his story in an aria (“Lost,
proscribed, an humble Stranger”) which is universally popular. They have come to the
fair to procure help for their farm. While the sheriff, according to law, is binding the
girls for a year’s service, Plunkett and Lionel meet Martha and Nancy, and are so
delighted with their appearance that they tender them the customary bonus, or
“earnest-money,” which secures them. Too late for escape, they find that they
are actually engaged, and they are obliged to drive away with the young farmers, leaving
Sir Tristan in despair.
The second act opens in the farmhouse, where the four have
arrived. The farmers inquire their names, and seek to find out what they can do, testing
them first at the spinning-wheel. The spinning quartet (“When the Foot the Wheel
turns lightly”) is very gay and full of humor, and is one, of the most delightful
concerted numbers in the opera. The brothers soon find that their new servants are
useless, but they are so pleased with them that they decide to keep them. At last Nancy,
in a pet, kicks her wheel over and runs off, followed by Plunkett. Lionel, left alone with
Martha, grows very tender to the new servant, and at last finds himself violently in love.
He snatches a rose from her bosom, and refuses to return it unless she will consent to
sing. She replies with the familiar ballad, “ ‘T is the last Rose of
Summer,” which Flotow has interpolated in this scene, and in the performance of which
he makes a charming effect by introducing the tenor in the close. Her singing only makes
him the more desperately enamored, and he asks her to be his wife on the spot, only to
find himself the victim of Martha’s. sport, although his devotion and sincerity have
made a deep impression upon her. Plunkett and Nancy at last return, and another charming
quartet follows, “Midnight sounds,” better known as the “Good Night
Quartet.” The two brothers retire, but Martha and Nancy, aided by Tristan, who has
followed them and discovered their whereabouts, make good their escape. The next scene
opens in the woods, where several farmers are drinking and carousing, among them Plunkett,
who sings a rollicking drinking-song (“I want to ask you”). Their sport is
interrupted by a hunting-party, composed of the Queen and her court ladies. Plunkett and
Lionel recognize their fugitive servants among them, though the ladies disclaim all
knowledge of the farmers. Plunkett attempts to seize Nancy, but the huntresses attack him
and chase him away, leaving Lionel and Lady Henrietta together again. The scene contains
two of the most beautiful numbers in the opera, — the tenor solo, “Like a Dream
bright and fair” (“M’ appari” in the Italian version), and a romance
for soprano (“Here in deepest Forest Shadows”); and the act closes with a
beautiful concerted finale, quintet and chorus. In this finale the despairing Lionel
bethinks him of his ring. He gives it to Plunkett. desiring him to present it to the
Queen. By means of the jewel it is discovered that he is the only son of the late Earl of
Derby, and she orders his estates, of which he has been unjustly deprived, to be restored
to him.
The last act is not important in a musical sense, for the
climax is attained in the previous finale. The dramatic denouement is soon reached, and
the Lady Henrietta, who has for some time been seriously in love with Lionel, is at last
united to him; and it is almost needless to add that the fortunes of Plunkett and Nancy
are also joined. The charm of “Martha” is its liveliness in action and
tunefulness in music. Though not a great opera from a musical point of view, it is one of
the most popular in the modern repertory, and though few others have been performed so
many times, it still retains that popularity.
“Stradella,”
romantic opera in three acts, was first written as a lyric drama and produced at the
Palais Royal Théâtre, Paris, in February, 1837, and was subsequently rewritten in its
present form under the title of “Alessandro Stradella” and produced at Hamburg,
December 30, 1844. The English version, which was somewhat altered by Bunn, was produced
in London, June 6, 1846. The story follows the historic narrative of Stradella, the
Italian musician, except in the denouement. Stradella woos and wins Leonora, the fair ward
of Bassi, a rich Venetian nobleman, with whom the latter is himself in love. They fly to
Rome and are married. Bassi hires two bravos, Barbarino and Malvolio, to follow them and
kill Stradella. They track him to his house, and while the bridal party are absent enter
and conceal themselves, Bassi being with them. Upon this occasion, however, they do not
wait to accomplish their purpose. Subsequently they gain admission again in the guise of
pilgrims, and are hospitably received by Stradella. In the next scene Stradella, Leonora,
and the two bravos are together in the same apartment, singing the praises of their native
Italy. During their laudations the chorus of a band of pilgrims on their way to the shrine
of the Virgin is heard, and Leonora and Stradella go out to greet them. The bravos have
been so moved by Stradella’s singing that they hesitate in their purpose. Bassi
enters and upbraids them, and finally, by the proffer of a still larger sum, induces them
to consent to carry out his design. They conceal themselves. Stradella returns and
rehearses a Hymn to the Virgin which he is to sing at the festivities on the morrow. Its
exquisite beauty touches them so deeply that they rush out of their hiding-place, and
falling at his feet confess the obj ect of their visit and implore his forgiveness.
Leonora enters, and is astonished to find her guardian present. Explanations follow, a
reconciliation is effected, and the lovers are happy. The denouement differs from the
historical story, which, according to Bonnet, Bourdelot, and others, ends with the death
of the lovers at Genoa, at the hands of the hired assassins.
The opera is one of the most charming of Flotow’s works
for its apt union of very melodious music with dramatic interest. Its most beautiful
numbers are Stradella’s serenade (“Horch, Liehchen, horch!”), the following
nocturne (“Durch die Thäler, fiber Hügel”), the brilliant and animated
carnival chorus (“Freudesausen, Jubelbrausen”) of the masqueraders who assist in
the elopement, in the first act; the aria of Leonora in her bridal chamber (“Seid
meiner Wonne”), the rollicking drinking song of the two bravos
(“ ‘Raus mit dem Nass aus dem Fass”) and the bandit ballad
(“ ‘Tief in den Abruzzen”) sung by Stradella, in the second act; an
exquisite terzetto (“Sag doch an, Freund Barbarino”) sung by Bassi and the two
bravos when they hesitate to perform their work, and Stradella’s lovely Hymn to the
Virgin (“Jungfrau Maria! Himmlisch verkärte”), in the last act.
Last updated October 30, 2006