Inspiring comeback: Marianna Martines' oratorio conquers Vienna!

Inspiring comeback: Marianna Martines' oratorio conquers Vienna!

The oratorio “Isacco figura del redentore” by Marianna Martines celebrated its audiovisual premiere at the chamber opera MusikTheater an der Wien on June 5, 2025 and the audience was thrilled. It was a spectacular event that demonstrated not only the complexity of Martine's music, but also its unique position in the context of Viennese classical music. The director Eva-Maria Höckmayr created an impressive atmosphere with a minimalist stage design and unique costumes.

Marianna Martines, who was born in Vienna in 1744 and died in 1812, was not only a talented composer, but also an excellent singer and harpsichordist. Their musical roots are deeply rooted in the 18th century Neapolitan School and Viennese Classicism. Among other things, she received piano lessons from Joseph Haydn and literary training from Pietro Metastasio, one of the best librettists of the time. The oratorio “Isacco figura del redentore,” which she wrote in 1782, is based on a libretto by Metastasio and tells the biblical story in which Abraham is asked by God to sacrifice his son Isaac.

Successful premiere and influences

The premiere of Martines' work by the Vienna Tonkunstler-Sozietät in 1782 was a great success and offered her one of the few opportunities to present a comprehensive work in a public setting. At the time when Martines lived, the promotion of composers and their works was primarily through benefit concerts such as the Tonkunstler-Society of great importance. This society, founded in 1771 by Florian Gassmann, was designed to support widows and orphans of professional musicians in Vienna and established many traditions that also benefited Martines' performances.

The oratorio itself is divided into a first part, which deals with God's command, and a second part, which deals with Sarah's suffering and her patience as she waits for Abraham's return. With this deeply emotional act, Martines succeeds in taking the listener into another world. At the premiere it took over Bach Consort Vienna under Chiara Cattani the overture and the recitative, while the main roles were interpreted by talented soloists: Christian Senn as Abramo, Sophie Gordeladze as Sara and many more ensured a moving performance.

Insights into heritage and culture

The coming days will be dedicated to honoring Martines. On June 16th and 17th, 2025, the festival “Sounds from the Great Michaelerhaus” will take place in the parish of St. Michael, where the new sheet music edition of her works will be presented. Led by Clara Bauer Wagsteiner, the Alma Mahler Philharmonic will perform two harpsichord concertos by Marianna Martines, which will be interpreted by students from the mdw Institute for Early Music.

A daylong scientific symposium on June 17 will examine the latest research on Martines. Unanswered questions about performance practice in Vienna around 1780 and Martines' cultural legacy are illuminated, including the role of Fräulein Engelhardt, who preserved her manuscripts, as well as the challenges and changes that women faced in the music industry at the time. Salon culture will also be discussed here, showing how blurred the boundaries between “public and private” and between “aristocratic and bourgeois salons” were.

Martines' life and her musical work are not only an important chapter in Viennese music history, but also an excellent example of migration and cultural exchange between Italy and Vienna. Their legacy, which is revitalized through the performances, invites you to look at the musical and social world of Viennese classical music in a new light.