Composer: Friedrich Freiherr von Flotow (1812-1883),
1844
arr. E. Gresham
AveWiki link
... adapted ... by E. Gresham. (BL) to
'Alessandro Stradella' (adapted score not available)
MIDI:not available
Recording:not available
MP3 sample from YouTube video
CD: Flotow : Alessandro Stradella
play/stop MP3 sample:
Score / Lyrics: of original opera score
free download on IMSLP
Hymne 'Jungfrau Maria" From "Allessandro Stradella"
Posted on YouTube:
Meyerbeer1 |
June 12, 2010
Friedrich von Flotow
Opera: Alessandro Stradella, romantic opera in three acts, first performance
30 December 1844, Stadttheater, Hamburg.
Libretto: Friedrich Wilhelm Riese
Finale III .../... Prayer:
Jungfrau Maria, (starts at 2'57")
Malvolino: Johannes Martin Kranzle, bass
Barbarino: Bernhard Schneider, tenor
Bassi, Markus Marquardt, bass
Alessandro Stradella: Jörg Dürmüller, tenor
Leonore: Sabine Passow, soprano
Chorus: Cologne Radio Chorus
Orchestra: WDR Rundfunkorchester Köln
Conductor: Helmuth Froschauer
Flotow, Friedrich Freiherr von opera composer
b Teutendorf Mecklenburg Apr 27 1812 d Darmstadt January 24 1883
After studying composition at Paris from 1827 under Reicha the July
Revolution 1830 caused him to retreat to Mecklenburg where he wrote two
small works Pierre et Catherine (privately perf 1831) and Die
Bergknappen (1835)
Returning to Paris he brought out Séraphine
(Chateau Royaumont 1836) Rob Roy and Le naufrage de la Méduse
(Paris Renaissance Th 1S39 his first incontestable success also given
Homburg 1845 as Die Matrosen)
A series of less fortunate ventures followed La duchesse de Guise
1840; Le forestier (1840; at Vienna 1847 as Der Förster, at London
1848 as Leolinc); L'Enclave de Camoens 1843 at the Opera Comique and
the ballet Lady Harriet (Opera 1843 afterwards rewritten as Martha)
With Alessandro Stradella (Hamburg 1844 rewritten from a 1 act piece
lyrique Stradella given in Paris 1837)
his name became familiar in Germany after I'Ame en peine (Paris Opera
1846 in Hal as Il Boscajuolo ossia L'Anima della Tradita) came his
most genuinely and widely popular work Martha (Vienna 1847).
The March Revolution 1848 drove him from Paris Die Gross itrstin Berlin
Opera 1850 was fairly succ and Indra Berlin 1853 decidedly so balRMbezahl
Frankfort 1854 Hilda S55 ar JA bin Der Miiller von Meran 1856 failed From
1856 63 F acted as in tendant of court music at Schwerin from 1S63 8 he was
again in Paris The operettas La Veuve Grapin Paris 1859 and Pianella Paris
i860 the operas IVinter marc hen Vienna 1862 Zilda Paris 1866 and Am
Runenstein Prague 1868 and the ballets Die Lihelle Vienna 1866 and TannkSnig
Darmstadt 1867 belong to this period for Schwerin he wrote music to a Fac
keltanz but no operas
He settled on one of his estates near Vienna in 1868 but made frequent
visits to Vienna, Paris and Italy; his last years were spent in Darmstadt.
In 1870 his earlier triumphs were renewed with L'Ombre (Paris Op Com 1870;
in London 1878 as The Phantom); Xaida (Milan 1873); and II fiord
Harlem (Turin 1876) were revised from early works never produced He
rewrote Indra as I'Enchanteresse (Paris and London 1878, in
Ital as Alma I'incancatrice, in German as Die Hexe) after his
death 3 more operas were performed Roscllana Der Graf Sainl Megrin Cologne
1884 and Die Musikanten Hanover 1887
Flotow had a fund of fresh and pleasing melody and rhythmic variety and a
good knowledge of stage effect. The failure of many of his operas is due to
amateurish scoring and shallowness of sentiment. Yet Stradella and
Martha still hold the boards despite Fetis' dismal prophecy 'Mais
tout cela sera bientôt oublié.'
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