What the press said about Martha (February 2009)

“Thanks to the enterprise of Opera South” (The British Theatre Guide magazine)

“Martha is a diamond tiara” (Petersfield Post)

“Attractive performances” (Opera magazine)

“Another gem ... a wonderful evening” (The Herald)

Attractive performances

Opera magazine

Opera South at Haslemere Hall, February 28

The company that started life as Opera Omnibus and evolved into Opera South has been active in Haslemere for 25 years. In the past decade it has introduced me to operas by Adam, Balfe, Moniuszko and Nicolai, and this year it was pleasing to rediscover Flotow’s Martha. A new departure, symptomatic of the economic climate, was that Tom Hawkes’s production (in his own designs) was shared with Northampton Festival Opera, each company using the same conductor and soloists and supplying its own chorus and orchestra.

As customary, the music director, Tom Higgins, made his own reduction of the score for an orchestra of 20, and collaborated with the translator Guy Davenport on a new English performing edition. If the story is unfamiliar to contemporary opera-goers, many would recognize the aria “M’appari” (better known in the Italian translation than the original German) from recordings of tenor showpieces; and Martha’s song “The Last Rose of Summer” is a traditional Irish melody borrowed by the composer. Flotow, however, also infused his score with many felicitous duets, trios and quartets which carry the romantic story through some unlikely twists to a happy conclusion.

The two couples, initially unacquainted but finally paired off, and an older male character hint at the Così situation; but the heartless heroine has something of Donizetti’s Norina or Adina. Martha is the name adopted by Lady Harriet Dunham when for amusement she and her friend Nancy go to Richmond Fair dressed as servants for hire, and are engaged in good faith by the prosperous farmers Lionel and Plunkett. When the joke backfires on the women, they escape with the help of Sir Tristram, but the situation deteriorates — until Lionel turns out to be the Earl of Derby and all problems are resolved.

The multi-purpose set furnished effective backgrounds to some attractive performances. Stephanie Lewis lent a warm, full mezzo and vivacious personality to Nancy and was partnered by the personable baritone Anthony Cleverton as Plunkett. Claire Surman in the title role tended to be overly emphatic of voice and manner, though her “Last Rose of Summer” was lyrically sung. Tom Raskin seemed taxed by the role of Lionel: less attacking and more caressing of the notes would have been welcome, though his ardent account of “M’appari” was nicely judged. Dominic Barrand lent his easy stage presence to Sir Tristram. The chorus of girls for hire sang with spirit and the Guildford Philharmonic played keenly.

MARGARET DAVIES

Opera Magazine May 2009 Pages 594/5

Another gem ... a wonderful evening

The Herald

One of the main aims of Opera South is to stage lesser known operas and this year they have come up with another gem — Flotow’s romantic comic opera Martha, which was first performed in Vienna in 1847.

The story is about love and its tribulations in the English countryside during Queen Victoria’s reign. The music is full of invention and delight and is a fusion of German opera and French opera comique. There are lively choruses and enchanting solos and ensembles. With no dialogue to interrupt the flow, the music is one glorious set piece after another. The characters are well drawn and Flotow wasted no opportunity to repeat catchy tunes — The Last Rose of Summer 5 times! He also succeeds in keeping the action moving, thus balancing sentimentality with exuberance.

Of the four main characters, Anthony Cleverton as Plunkett was outstanding. He sang with a sense of style and beauty of tone and phrasing. His diction was immaculate and he acted with panache, especially in the Spinning Wheel quartet.

Martha’s friend and confidante, Nancy, was beautifully portrayed and sung by Stephanie Lewis. She has a light, well-focussed mezzo voice with a good chest register.

The disappointment for this reviewer was Claire Surman as Martha. Her bright voice sounded at times shrill and un-focussed with a distinct wobble, although she coped convincingly with the many coloratura passages of the role. However, her gentle singing of The Last Rose of Summer was enchanting, as was her part in the Goodnight quartet.

Tom Raskin as Lionel was forthright and confident and the high tessitura of much of his music held no fears for him. His interpretation of M’appari was most moving.

The chorus — who play a large part in the opera — sounded confident and well-drilled.

Tom Higgins maintained Flotow’s piquant orchestration in his cleverly re-scored working for this production and members of the Guildford Philharmonic Orchestra did him proud.

The sets were designed by the director, Tom Hawkes.

Once again, congratulations to Opera South for a wonderful evening.