Flotow’s genial opera, Marta, was first performed
in Vienna in November 1847. Flotow’s life was almost contemporaneous
with that of Wagner but there was a great disparity between their styles.
Flotow’s was much more conservative, although his influences were quite
cosmopolitan, embracing the German (Beethoven and Haydn), French (Grossec
and Méhul) and Italian (Salieri) traditions. He moved to Paris
when he was 17 and he was much impressed by the international operatic
style adopted first by Rossini, Auber and Meyerbeer; and, later, by
Gounod and Offenbach.
The story of Marta is set in England during
the reign of Queen Anne. The wealthy Lady Enrichetta is bored. She and
her friend Nancy decide to have an adventure dressing up as servant
girls to visit the market in Richmond Square. Here they meet farmers,
Lionello and Plumkett, believed to be brothers (as it turns out Lionello
is really the long-lost son of Lord Derby). The girls, through a misunderstanding,
are bound to be servants to the brothers for a year. Not surprisingly,
Enrichetta (posing as Marta) and Nancy (alias Betsy) are disinclined
to obey their orders. Plumkett argues with ‘Betsy’ while the more sentimental
Lionello falls madly in love with ‘Marta’. Then the girls are rescued
from servitude by their gentleman friend Sir Tristan. Some time later,
the farmers are drinking at an inn when a hunting party arrives that
includes not only the Queen but the two girls now restored to their
former position in society. Enrichetta loftily dismisses Lionello when
he recognises her and has him arrested when he protests that she is
his servant girl. In the last act all is forgiven and the lovers reunited.
The style of the overture (performed with great zest
and style by Molinari-Pradelli’s Turin orchestra) is German. The most
obvious character though is the stylistic mix of French, German and
Italian elements. The music is consistently bright and cheerful, the
melodies popular in character with the choruses seemingly derived from
folklore motifs.
The singing is predominantly florid bel canto
with much opportunity for Elena Rizzieri to show off her coloratura
capabilities. Her lovely ‘Qui sola vergin rosa’ is the best known aria
of the opera. Only occasionally do her top notes seem shrill (although
the ageing mono recording might be at fault). Ferruccio Tagliavani is
a dashing, passionate Lionello (his tessitura somewhat reminiscent of
Caruso). His vocal range embraces high whispered dolce pianissimi
to oaken low fulminations. Just listen to him in his beguiling Act 1
aria ‘Solo, profugo, rietto’ and the other big hit of the opera ‘M’appari
– tutt’amor’ from Act IV. Pia Tassinari’s earthy Nancy is a worthy foil
to Enrichetta and her timbre blends and contrasts nicely with Rizzieri.
Carlo Tagliabue’s four-square Plumkett is a perfect anchor. In fact
the voices of all four principals make up a most attractive ensemble
- the opera has an abundance of exquisite, demanding, decorative quartets.
Ferruccio Tagliavini’s recital is most rewarding; although
the orchestral sound is a little shaky now and then, Tagliavini’s voice,
in top form during the forties, (imposing and expressive and nicely
controlled) is captured very well. The arias include ‘Ecco ridente in
cielo’ from Rossini’s Barber of Seville, ‘Una furtiva lacrima’
from Donizetti’s L’Elisir d’Amore, ‘Addio Mignon’ from
Ambroise Thomas’s Mignon, ‘Oh, dolce incanto … Chiudo gli occhi’
from Massenet’s Manon, and ‘Lucieta xe un bel nome’ from Wolf-Ferrari’s
I quatro rusteghi.
Maestro Molinari-Pradelli leads a sparkling performance
of Flotow’s popular opera so full of merriment and gaiety. The four
principals deliver some excellent solo, duet and ensemble singing. Hugely
enjoyable.
Ian Lace
RAI/Francesco Molinari-Pradelli