Марта немесе Ричмонд жәрмеңкесі

Romantic comic opera by Friedrich von Flotow

Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond) is a romantic comic opera in four acts by Friedrich von Flotow set to a German libretto by de and based on a story by Jules Henri Vernoy de Saint Georges. Flotow had composed the first act of a ballet, Harriette, ou la servante de Greenwiche, derived from a text by Saint Georges, for the ballerina Adèle Dumilâtre. This was first performed by the Paris Opera Ballet at the Salle Le Peletier on 21 February 1844. The time available for the composition was short, so the second and third acts were assigned, respectively, to Friedrich Burgmüller and Édouard Deldevez. The opera Martha was an adaptation of this ballet.

According to Gustav Kobbé, Martha, though written by a native of Mecklenburg and first performed in Vienna, is French in character and elegance. Flotow was French in his musical training, as were the origins of both the plot and the score of this work, effectively in the tradition of Auber. The opera was performed at the second inauguration of Abraham Lincoln in 1865. It was first performed in France in Italian by the Théâtre Italien at the Salle Ventadour in Paris on 11 February 1858 and in French at several provincial theatres beginning in December 1858 and at the Théâtre Lyrique in Paris on 18 December 1865. According to T. J. Walsh, numerous editions of Kobbé's Opera Book have incorrectly given the date of the first performance at the Théâtre Lyrique as 16 December 1865. He also challenges Kobbé's statement that the aria "M'appari" (which Flotow composed for his earlier opera L'âme en peine) was first introduced into the opera Martha at that theatre. He notes that it was sung by Mario at the Théâtre Italien in 1858 and is also found (as "Ach! so fromm") in an early (probably 1848) Vienna edition of the score in the British Library and was probably always a part of the opera. The confusion may have arisen from further alterations made by the Théâtre Lyrique's director, Léon Carvalho, which included the insertion in act 4 of Flotow's baritone aria "Depuis le jour j'ai paré ma chaumière" (also from L'âme en peine). In 1877, at the Royal Italian Opera in Covent Garden, Victor Capoul performed as Lyonel, with Francesco Graziani (baritone) as Plunkett and Sofia Scalchi as Nancy. Martha received a fresh boost in popularity in 1906 when it was staged at the Metropolitan Opera in New York in a production that featured the famed tenor Enrico Caruso, singing the opera in Italian. Lyonel was one of Caruso's most popular roles, performing it many times during subsequent seasons; he also recorded several extracts from the Italian version of the opera. Martha fell out of favor by the 1920s and it was rarely performed for decades thereafter. Interest in the opera was rekindled by the 1980s and recent productions in the United Kingdom have included those by Opera South in 1986 and 2009 and Bel Canto Opera in 2002. Those in the U. S. have included Michigan Opera Theatre in 1985.

Time: 1710. Place: Richmond, England.

Lady Harriet Durham, a maid of honour to Queen Anne, is so tired of Court life, and so sick of her many insipid admirers, she retires to the country. But she becomes bored so she decides to attend the fair at Richmond where girls hire themselves out as servants. For a laugh, she and her confidante Nancy masquerade as maidservants. Her foppish old cousin, Sir Tristan, another admirer whom she deems a bore, accompanies them. Harriet manages to lose her escort, and then she and Nancy stand in the line of girls waiting to be hired. Two young farmers, Lyonel and Plunkett, are looking for a couple of wenches to do their housework and, being struck by the beauty and charm of the two masqueraders, proceed to hire them. Lady Harriet gives her name as Martha. The girls are soon dismayed to find they are legally bound to their new masters for a year. Sir Tristan is unable to retrieve them from their fate.

Quickly, both farmers fall for their new maidservants — Lyonel for Harriet and Plunkett for Nancy. Harriet feels that Lyonel is of higher station than he appears. He is an orphan who was left with Plunkett's parents in early childhood. The new maids are totally inept at their tasks, which infuriates Plunkett. Finally, the new maids are told to go to bed, but escape through the window, with the aid of Sir Tristan. The young farmers are distressed and angry at the loss of their maids, and Lyonel's grief is so great that he falls into a melancholy state.

Wandering in the forest, Lyonel meets a royal hunting party and recognises Lady Harriet. He declares his love for her, but she rebuffs him. Lyonel reminds her of her contract to serve him for a year. She tells the party the young man is mad, and Sir Tristan supports her declaration. Orders are given to imprison the young man. Lyonel has a ring his father gave him, saying if he was ever in trouble he was to send the ring to the Queen. He begs his friend to take it to the court.

The ring saves Lyonel. The Queen recognises it as that of a banished nobleman, whose innocence has since been proven. Lady Harriet is now willing to accept his courtship as there is no longer a class difference to stand between them. She is filled with remorse for the way she has treated him. She reveals to him her true identity and tells him that his estate will be restored but he is blinded by anger with Harriet for the injustice she did him and refuses to accept her love. To win him back, Harriet and Nancy return to the fair once again dressed as country wenches. When Plunkett brings Lyonel to the fair and points out the two pretty serving maids, Lyonel realises he does love Harriet. He embraces her, and they agree to marry, as do Plunkett and Nancy.

The overture is among von Flotow's most appreciated works. It begins with a slow A minor introduction, but changes suddenly to an A major theme (that of Lyonel's prayer in act 3, "Mag der Himmel Euch vergeben"), presented as an extended French horn solo with orchestral accompaniment that concludes with the theme stated by the full orchestra. It reverts to A minor with a busy, agitated motif for the Allegro, representing Lady Harriet and Nancy bustling about, leading into the slightly slower (meno moto) C major peasant girls' chorus theme from act 1, played by woodwinds accompanied by triangle and snare drum with pizzicato string punctuation. This concludes with a mini coda for the full orchestra a tempo in C; then the agitated theme returns, but modulates several times from C through D minor and E minor to a section pitting the agitated theme in F major against Lyonel's prayer in the oboes, clarinets, and cellos in the midst of the orchestral texture, adding winds and brass to the theme in a crescendo until suddenly breaking off and reprising the peasant girls' chorus in A major. That leads without further modulation back to the Lyonel's prayer motif for full orchestra as in the beginning, and so the overture ends with a brisk, very short duple meter coda. The fluctuations of light and shade are reminiscent of Schubertian scoring, or of Weber (e. g. Der Freischütz overture): but without modulation into remote tonalities, they never really portend a tragic conclusion, but rather the lovers' dilemmas and local color. Though the powerful overture hints at a darker outcome, the opera ends happily. The heroine's levity and Lyonel's sincerity are its themes. The dramatic music, as between Lyonel and Harriet in act 4, is weighty, while the scoring of the comic scenes is also (but differently) effective. In his own idiom, like Mozart in Don Giovanni or Verdi in Un ballo in maschera, von Flotow could build convivial music into a tragic dramatic context. The Thomas Moore traditional Irish melody "The Last Rose of Summer", introduced for Martha in act 2, was a successful inclusion. Popular airs were then often introduced informally to operas as show pieces by sopranos, for example "Home! Sweet Home!" in the lesson scene of The Barber of Seville. Singers such as Jenny Lind or Adelina Patti made much of them. In Martha the custom is formally perpetuated, and the melody then appears as a leitmotif to represent Lyonel's longing.