FLOTOW.
Friedrich von Flotow was born April 27, 1812, in the duchy of Mecklenberg-Schwerin, and in 1827 went to Paris, where he studied music under Reicha. His first work was "Stradella," a mere sketch in its original form, which was brought out at the Palais Royal in 1837; but his first public success was made in 1839, with his opera, "Le Naufrage de la Méduse," which had a run, and was afterwards produced in Germany under the title of "Die Matrosen." "L'Esclave de Camoens" appeared in Paris in 1843; "Stradella," rewritten as an opera, in Hamburg (1844); "L'Âme en peine," in Paris (1846); "Martha," in Vienna (1847). The works of his later period, which never equalled his earlier ones in popularity, were "Die Grossfürstin" (1850); "Indra" (1853); "Rubezahl" (1854); "Hilda" (1855); "Der Müller von Meran" (1856); "La Veuve Grapin" (1859); "L'Ombre" (1869); "Naïda" (1873); "Il Flor d'Harlem" (1876); and "Enchanteresse" (1878). Of these later works, "L'Ombre" was the most successful, and was received with favor in France, Italy, Spain, and England, in which latter country it was performed under the title of "The Phantom." In 1856 he received the appointment of Intendant of the theatre of the Grand Duke of Mecklenberg, and he entered upon his duties with high hopes of making the theatre exercise the same influence upon music in Germany as the Weimar stage; but court intrigues and rivalries of artists so disgusted him that he resigned in 1863 and went to Paris, and a few years later to Vienna, where he took up his abode. Outside of a few of his operas his works are little known, though he composed a "Fackeltanz," some incidental music to the "Winter's Tale" of Shakspeare, and several overtures, songs, and chamber-pieces. An interesting episode in his career occurred in 1838, when he brought out an opera in three acts, the "Duc de Guise," at the Théâtre de la Renaissance, the libretto based upon Dumas's "Henri III." The performance was organized by the Princess Czartoryska, for the benefit of the Poles. Mme. de Lagrange made her début in a leading part, and the parts of the choristers were filled by duchesses and princesses of the Faubourg St. Germain, upon whose persons two million dollars worth of diamonds were blazing,—sufficient evidence that the performance was brilliant in at least one sense. He died at Wiesbaden, Jan. 24, 1883.
MARTHA.
"Martha," an opera in three acts, libretto by St. Georges, translated into German by Friedrich, was first produced at Vienna, Nov. 25, 1847, with Mlle. Anna Zerr in the title-rôle, 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, and the melody of which has been set to various words. 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 farm-house, 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, "'Tis 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 enamoured, 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 them. 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, which is worked up with great power. 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 dénouement 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. Its melodies, though sung in every country of the civilized world by amateurs and professional artists, have not yet lost their charms.
STRADELLA.
"Stradella," a romantic opera in three acts, was first written as a lyric drama and produced at the Palais Royal Theatre, Paris, in 1837, and was subsequently rewritten in its present form under the title of "Alessandro Stradella" and produced at Hamburg, Dec. 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 dénouement. 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 bravoes, 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 bravoes 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 bravoes 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 object 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 dénouement 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, Liebchen, horch!"), the following nocturne ("Durch die Thäler, über 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 bravoes ("'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 bravoes when they hesitate to perform their work, and Stradella's lovely hymn to the Virgin ("Jungfrau Maria! Himmlisch verklärte"), in the last act.