The list of the season was made up chiefly of works of the calibre of Flotow's "Martha," then in the height of its popularity.
So too has Flotow's comic opera, "Griselda, l'esclave du Camoens."
Flotow, in fact, was French in his musical training, and both the plot and score of "Martha" were French in origin.
Everyone who knows the story of Flotow's opera will recall that the heroine is horribly bored in the first act.
She received instruction from Flotow at first, doing more valuable work afterward with Saint-Saëns.
Lortzing, a writer of comic operas, came out later, as also did Flotow.
Flotow's father stops the supplies after seven years, because his son has not come up to time like a race-horse.
Flotow's best claim to distinction lies in this opera of "Martha."
A new and effective touch is given to the old song by Flotow in having the tenor join with the soprano at the close.
Flotow's opera "Alessandro Stradella" also is French in origin.