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Besides this, my chief occupation at the royal theatre during this period consisted in conducting Flotow's opera MARTHA, which, although it failed to attract the public, was nevertheless produced with excessive frequency, owing to its convenient cast.
During the season of 1860 she added fresh laurels to those which she had already attained, and sang several new parts, among which maybe mentioned Flotow's pretty ballad opera of "Martha" and Rossini's "Semiramide." Her performance in the latter work created an almost indescribable sensation, so great was her singing, so strong and picturesque the dramatic effects which she produced.
Yesterday I heard from my niece at Berlin that "Tannhauser" there could not be thought of for the present, because the "Feensee" and Flotow's "Indra" had first to be given. This has eased my heart, and by Hulsen's fault I have been released from all previous concessions. Now, dearest friend, comes the principal thing.
The dénouement differs from the historical story, which, according to Bonnet, Bourdelot, and others, ends with the death of the lovers at Genoa, at the hands of the hired assassins. The opera is one of the most charming of Flotow's works for its apt union of very melodious music with dramatic interest.
Another Alessandro, he who bore the surname Stradella and was the hero of Flotow's opera of that name, has figured so freely in romance that it is not easy to separate truth from fiction in accounts of his life. Dr. Parry says of him that he had a remarkable instinct for choral effects, even piling progressions into a climax, that his solo music aims at definiteness of structure, that, in 1676, he used a double orchestra whose principal instruments were violins, and that his oratorios were specially significant, as he cultivated all the resources of that form of art. His most celebrated composition is an oratorio, "San Giovanni Battista," and one of the airs attached to it "Piet
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