The formal innovations he incorporated into his dramme giocosi and scenic cantatas included the propulsion of the beginning of the story with a vigorous ensemble composition. This can be seen in the terzetto “Zitto, zitto non parlate” from Diana or the three- and four-part introductions to Una cosa rara and Il burbero, instead of the recitative secco of the opere serie. Divided into two acts, with many very expressive ensemble parts, short arias and long finales, Martín’s works were also characterised by the incorporation of rhythmic-melodic forms deriving from the Spanish seguidilla. These melodies recalled the carmagnoles of the French Revolution and harmonic progressions more typical of Schubertian Lied than of classical opera. On the other hand, many of the features of his dramme giocosi are marked by elements more characteristic of tragicomedies: Endimione, the Prince, Silvio and Clizia, always present the contrast between the dignity of their mythical origins or high social standing, and the fragility of their reactions. They are not completely buffo characters; this can be seen in the arias “Più bianca” and “Liete e amorosi i rai”, sung by the Prince and Endimione, respectively. The elegiac, precious, porcelain-like delicate treatment of the latter coincides with the personality of the noble shepherd, the personification of the eternal dream, the silver-lined kiss of the moon, so exalted by poets.

Another chapter in the Martinian dramma giocoso was his final period in St. Petersburg. Following the death of Joseph II and his brother Leopold’s ascent to the throne, in the winter of 1788 he moved to the Russian capital at the express invitation of the Tsarina Catherine II. An intimate friend of the Emperor who shared his ideas, it was perhaps this relationship that facilitated the composer’s arrival in one of the few centres comparable to the exceptional status of Vienna. In addition to some of his best ballets, Martín y Soler’s final stay in St. Petersburg led to three pieces in Russian being premiered at the Hermitage Theatre –Gore Bogatir Kosometovich (1789), Piesnolubie (1790) and Fedul s det’m (1791) with texts by Catherine herself– as well as an Italian comic opera, La festa del villaggio (1798). Martín remained in the service of the Empress’s first court and later that of her brother Paul I as a composer, conductor and singing teacher. Upon his return, following a short stay in London, in 1796 he would resume teaching. His singing school produced numerous singers of talent and renown such as Sandunova, Shaporov and Voroviev. In his twilight years he wrote less opera and, above all, focused on the composition of ballets and his position as a consultant to the Tsar.

Martín y Soler undoubtedly represented the avant-garde at the end of the eighteenth century. His extraordinary works raise questions, but don’t seem to provide responses to that transgression of the idyllic… How much had been written about Arcadia until then? Yet here, the oneiric is the carnal, and Martín y Soler’s output is revealed in the guise of a troubled man still without a response, though open to a new conception of humanity at the dawn of the nineteenth century, which is so applicable today.