Metropolitan Opera Archives

A treat to the eye and ear was the Metropolitan Opera's new production of "Martha" Tuesday at the Academy of Music. Sung in a new English translation by a cast headed by four able principals, it was staged with spirit. The perfection of ensemble, with attention to stage detail, upheld Metropolitan standards. It reminded one once more, at this next-to-last local Met performance (until at least the 1962-63 season) that this company is presently rivaled only by the New York City Opera, among East Coast groups, in this respect.

STAGED INFREQUENTLY

Flotow's beguilingly melodious opera had not been heard here in more than a dozen years, and the last Met production here was in 1929. While not grand opera in the narrow sense of the word (a few sentences are spoken, and dear, dear! nobody dies), "Martha" is thoroughly worth reviving for its wealth of solos, quartets, and other ensemble numbers, which trip gaily over one another, and for the story which is staged so joyously in this Met production.

Although the original setting of "Martha" was in Queen Anne' s time, early in the 18th century, few will quarrel with Oliver Smith's transfer of the time to about 1830 in lovely rural England. Smith's five settings were entirely in keeping with each scene's mood, beginning with a conservatory on the estate of Lady Harriet which resembled a gilded cage to suggest that lady's boredom.

STAGING IS LIVELY

The staging by the veteran Carl Ebert was full of life, though not excessively so. It had many little touches, such as realistic use of the riding whips in the fourth scene, and even a bit of slapstick or two, as when Lionel bumped his shin in the dark. On stage at different times were no less than three well-behaved horses. A four-legged horse in an opera is sure to steal the show from any prima donna, and this production was hardly an exception.

The translator of any opera is likely to receive criticism either for translating too literally or for using colloquialisms. Pretty much of a middle course was steered by Ann Ronell, who was not credited in the program, reportedly because of differences on late changes.

CAST IS EXCELLENT

This may be a bit late to be naming the cast, but all performed little short of superbly. The evening's show-stopper was Richard Tucker, as Lionel, who won an ovation for "One lonely night" (best known in the Italian as "M'appari") that he felt forced to acknowledge.

Victoria de los Angeles, somewhat slimmer than in her last operatic appearance here as Melisande, also sang beautifully in the role of Lady Harriet; notably "The Last Rose of Summer" and her long last-act aria. Incidentally, "Martha" may be the only opera where the title character is not so named on the program, since it is a pseudonym of Harriet.

TOZZI AS PLUNKETT

Giorgio Tozzi, that fine basso, was a tower of strength as Plunkett, and Rosalind Elias was a saucy Nancy, albeit some of the music seemed low for her range. Lorenzo Alvary was an amusingly foppish Lord Tristram, Harriet's ever helpful cousin, and Gerhard Pechner did well. as the Sheriff who auctions the servant girls.

Despite occasional momentary disagreements with principals or chorus, Nino Verchi, in his debut here, proved an able, forthright and sensitive conductor.

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