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Special offer. Flotow: Martha

Maria Bengtsson, Katharina Magiera, Barnaby Rea, AJ Glueckert, Franz Mayer

Frankfurter Opern-und Museumsorchester & Chor und Extra-Chor der Oper Frankfurt, Sebastian Weigle

Flotow: Martha

Awards:

The cast seems a just mixture of novelty and experience, with Bengtsson’s note-spinning both pure and dramatically apt, and Rea managing the non-part of Tristan…with aplomb. Glueckert’s tenor...

Special offer. Flotow: Martha

Maria Bengtsson, Katharina Magiera, Barnaby Rea, AJ Glueckert, Franz Mayer

Frankfurter Opern-und Museumsorchester & Chor und Extra-Chor der Oper Frankfurt, Sebastian Weigle

Purchase product

2 CDs

Original price $26.50 Reduced price $21.73

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

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96 kHz, 24 bit, FLAC/ALAC/WAV

$35.00

44.1 kHz, 16 bit, FLAC/ALAC/WAV

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320 kbps, MP3

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This release includes a digital booklet

Stream now Hi-RES 96 kHz, 24 bit

Awards:

The cast seems a just mixture of novelty and experience, with Bengtsson’s note-spinning both pure and dramatically apt, and Rea managing the non-part of Tristan…with aplomb. Glueckert’s tenor...

About

With a terrific cast including Maria Bengtsson and Katharina Magiera, and under the baton of Sebastian Weigle, OehmsClassics and Opera Frankfurt bring back to live a nearly forgotten jewel of comic opera in the 19th century. After the premiere at the Viennese Kärntnertortheater in 1847, Friedrich von Flotow’s Martha or The fair at Richmond became for nearly half a century one of the most popular operas in Europe. Full of charming melodies and with a plot as hilarious as racy, the story of bored Lady Harriet Durham and her friend Nancy, who disguised themselves as Martha and Julia and travel to the servant’s fair of Richmond, where they actually not only find a job, but also true love, is an enchanting example for the 1850’s civic opera and also Friedrich von Flotow’s wonderful light hearted music. After “Der Graf von Luxemburg” OehmsClassics is happy to continue the collaboration with Opera Frankfurt with this remarkable recording.

Contents and tracklist

Ouvertüre (Live)
Track length7:59
Act I: Darf mit nächtig düstren Träumen (Live)
Track length3:31
Act I: Teure Lady! (Live)
Track length5:04
Act I: Gnaden Tristan Mickleford (Live)
Track length4:16
Act I: Wohlgemut, junges Blut (Live)
Track length5:04
Act I: Mädchen, brav und treu (Live)
Track length2:00
Act I: Wie das schnattert (Live)
Track length4:53
Act I: Der Markt beginnt (Live)
Track length5:05
Act I: Vorwärts, Bob (Live)
Track length2:12
Act I: Sieh nur, wie sie uns betrachten (Live)
Track length6:12
Act II: Nur näher, schöne Mädchen (Live)
Track length3:01
Act II: Mädels, dort ist eure Kammer (Live)
Track length7:01
Act II: Nancy! Julia! So warte! (Live)
Track length3:43
Act II: Letzte Rose (Live)
Track length5:38
Act II: Warte nur! Das sollst du büßen! (Live)
Track length1:17
Act II: Schlafe wohl! Und mag dich reuen (Live)
Track length2:59
Act II: Nancy! Lady! Was nun weiter? (Live)
Track length4:57
Act III: Lasst mich euch fragen (Live)
Track length2:25
Act III: Auch wir Frau'n, wir wollen schaun nach Beute, hussa! (Live)
Track length0:53
Act III: Jägerin, schlau im Sinn (Live)
Track length4:08
Act III: Ach so fromm, ach, so traut (Live)
Track length3:13
Act III: Die Herrin rastet dort (Live)
Track length5:50
Act III: Mag der Himmel euch vergeben (Live)
Track length3:45
Act IV: Zum treuen Freunde geh (Live)
Track length2:48
Act IV: Den Teuren zu versöhnen (Live)
Track length3:39
Act IV: Lady! Mylady! Treuer Freund! (Live)
Track length1:13
Act IV: Der Lenz ist gekommen (Live)
Track length6:13
Act IV: Fasst euch, Lady! (Live)
Track length0:41
Act IV: Ja, was nun? (Live)
Track length5:49
Act IV: Hier die Buden, dort die Schenke! (Live)
Track length6:41

Awards and reviews

  • Opera
    August 2018
    Recording of the Month

September 2018

The cast seems a just mixture of novelty and experience, with Bengtsson’s note-spinning both pure and dramatically apt, and Rea managing the non-part of Tristan…with aplomb. Glueckert’s tenor is both attractive to hear and emotionally comprehensible…Oehm’s recording is warm, clear and natural: if you want to investigate this undemanding listen, I don’t think now you need to go any further back in sonic time.

August 2018

The small roles are well taken and the choral singing boasts clear diction wedded to enthusiasm. The pacing is perfectly judged throughout. It is delicious to hear solo instrumentalists quarrying some intelligent scoring.
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