Martha: No. 9 (Act II): The Last Rose Of Summer [Urtext, original key of F] Cover Image

Martha: No. 9 (Act II): The Last Rose Of Summer [Urtext, original key of F]: Light Opera, Orchestra Accompaniment, Conductor Score & Parts

$75.00 USD

Martha: No. 9 (Act II): The Last Rose Of Summer [Urtext, original key of F]: Light Opera, Orchestra Accompaniment, Conductor Score & Parts

Name: Martha: No. 9 (Act II): The Last Rose Of Summer [Urtext, original key of F]: Light Opera, Orchestra Accompaniment, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A904102
Price: 75.00 USD
Availability: OutOfStock

By Friedrich F. Von Flotow/ Libretto by Friedrich Wilhelm Riese, based on a story by Jules-Henri Vernoy de Saint-Georges

Item: 36-A904102

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Martha oder Der Markt zu Richmond was composed in 1847 by Friedrich von Flotow (1812-1883) as a lyric-comic opera that became one of the most popular German stage works of the mid-19th century. Set in England during the reign of Queen Anne, the opera follows the noble Lady Harriet, who disguises herself as a servant girl named "Martha" to experience life among commoners at the Richmond fair, only to become entangled in unexpected romance and mistaken identity with the farmer Lyonel. Premiered on November 25, 1847, at the Kärntnertor Theatre in Vienna, Martha reflects the era's taste for pastoral charm, sentimental comedy, and tuneful simplicity, blending German Romantic opera with French opéra-comique influences. Though less frequently staged today than the major works of Verdi or Wagner, Martha remains an important historical favorite. One of its best-known moments is Lyonel's aria "The Last Rose of Summer," sung in Act II as an expression of longing and idealized love; Flotow famously inserted the melody of this Irish folk song into the opera, helping to secure its lasting popularity as a standalone concert piece. Instrumentation: 1+1(Picc).2.2.2: 4.2.3.1(Ophcld): Timp: Hp: Str (4.4.3.3.3 in set): Solo Sop. Reprint edition of the aria in the original key of F.

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

UPC: 612735552695

SKU: 36-A904102

Instrumentation: 1+1(Picc).2.2.2: 4.2.3.1(Ophcld): Timp: Hp: Str (4.4.3.3.3 in set): Solo Sop

More about this title

About the Composer: Friedrich F. Von Flotow

Friedrich von Flotow (1812-1883) was a German composer whose gift for memorable melody and theatrical charm made him a central figure in mid-19th-century opera. Born into Prussian nobility, he studied composition in Paris and absorbed both German Romantic and French opéra-comique traditions, which he synthesized into a distinctive style that prioritized tuneful simplicity and emotional directness over complex harmonic architecture.

Flogow's works dominated European stages during his lifetime, with Martha standing as his most enduring achievement. His ability to craft singable, expressive vocal lines that captured public sentiment secured his reputation among both audiences and musicians, even as later critics dismissed his music as lightweight. Today, his operas remain valuable repertoire for understanding how 19th-century composers balanced accessibility with genuine musical craft.

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Why we love this

This aria has earned its place as a concert staple for good reason: the melody is instantly recognizable, the emotional arc is clear, and the orchestration provides substantial support without overwhelming the soprano. Programming it signals to audiences that your ensemble values accessible beauty alongside technical sophistication, and the work sits comfortably in both operatic and concert contexts.

What to expect

The aria unfolds as a meditation on longing and idealized beauty, its Irish folk melody giving it an almost pastoral simplicity that belies the genuine emotional weight beneath the surface. The orchestration wraps the soprano in warm, supportive harmony, creating an atmosphere of intimate reverie despite the full orchestral sound.

Who it's for

Orchestras and opera companies seeking a beloved soprano showcase that combines historical significance with audience appeal. The part suits singers with mature lyrical voices who understand how to phrase a long melodic line with legit, and conductors who want to explore the repertoire of 19th-century German light opera.

How to get the most out of it

Balance the soprano voice against the full orchestra by having the orchestra play with transparency in the accompaniment; resist the urge to fill every moment with thick orchestral sound.
Establish a singing legit in the woodwind exposition before the soprano enters; this sets the melodic character your soloist should match.
Conduct with a clear, sustained pulse that allows the soprano room for gentle rubato; the accompaniment should breathe with the soloist rather than push against her.
Watch the harmonic rhythm in the string writing beneath the melody; shifts in texture often signal phrase boundaries that support the soprano's phrasing.

How to use it

This works beautifully as a centerpiece in a concert exploring 19th-century opera or vocal literature, where it can anchor a program of similarly scaled arias. It also serves as an elegant contrast piece in a concert mixing symphonic works and operatic selections, offering the audience a moment of vocal beauty without requiring full-scale operatic staging.