Featured Artist: George Martin

The relationship between law and opera can be traced back to the origins of opera itself. Opera emerged in Italy during the late 16th century, a time when the legal system was deeply intertwined with various aspects of society. The courts played a significant role in patronizing and supporting the arts, including opera. Many composers and librettists of early operas were employed by noble families or the church, both of which had close ties to the legal system.

One of the most prominent connections between law and opera is the presence of legal themes in operatic works. Numerous operas throughout history have centered around legal disputes, trials, or legal concepts. These operas often explore themes such as justice, morality, and the human condition through the lens of the law.

A passionate writer with a background as a successful attorney, George Martin published several articles and fourteen books in the last six decades. Earning a B.A. from Harvard University and an L.L.B. from the University of Virginia, Martin is known for his successful educational career and dual career as an attorney and writer.

During his career as an attorney, Martin worked as part of the law firm Emmet Martin & Martin in New York City before diving into a career in creative arts. Most recognized for publications focused on music, theater, and the opera. Martin published "The Opera Companion, A Guide for the Casual Operagoer" in 1961, " Verdi, His Music, Life and Times" in 1963, "The Damrosch Dynasty, America's First Family of Music" in 1983 as well as "Twentieth Century Opera, A Guide," in 1999. Martin has also claimed success for "C.C.B.: The Life and Century of Charles C. Burlingham, New York's First Citizen, 1858-1959," for which he earned the Erwin N. Griswold Award from the U.S. Supreme Court Historical Society in 2006. Martin has recently continued writing, publishing "Verdi in America Oberto Through Rigoletto" and "Opera at the Bandstand, Then and Now."