Handel's Operas, 1726-1741
Winton Dean
Language: English
Pages: 602
ISBN: 1843832682
Format: PDF / Kindle (mobi) / ePub
Handel ranks with Monteverdi, Mozart and Verdi among the supreme masters of opera, yet between 1754 (when Handel was still living) and 1920 not one of his operas was performed anywhere. Their revival in the modern theatre has been among the most remarkable phenomena in the history of the art. But they are still too little understood, or studied, and until recently no reliable modern editions existed. This long-awaited book is the sequel to l>Handel's Operas 1704-1726/l>, published in 1987. It is the first study in depth of Handel's last twenty-two operas, including major masterpieces such as l>Orlando/l>, l>Ariodante/l> and l>Alcina/l> and the brilliant lighter works l>Partenope/l>, l>Serse/l> and l>Imeneo/l>. Each chapter contains a full synopsis and study of the libretto, a detailed assessment of the opera's musical and (often misunderstood) dramatic qualities, a performance history, and comparison of the different versions. Much new material has been incorporated. In addition four general chapters throw a vivid light on the historical background. Two Epilogues touch on Handel's dramatic vision, the revival of his operas in the twentieth century, and their performance today. There are a number of valuable Appendices. Together with its predecessor, the book provides the first complete overview of these works. WINTON DEAN is the most distinguished British authority on the life and work of Handel; he has also written extensively on opera in general.
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Ariodante. It is the apex of a double aria, preceded by the lovely little cavatina ‘Care mura’ with which Partenope dedicates the trophies of victory to her city. Burney was impressed: ‘This air [‘Voglio amare’] is so smooth and free from wrinkles that it is difficult to imagine it to be near sixty years of age’, than which he could have paid it no higher compliment. ‘Qual farfalletta’, the opera’s only simile aria, offers an ambivalent response to Armindo’s declaration of love: admitting his
set about organising a new subscription. Elizabeth Gibson discovered in the Richmond archives a list – undated but probably from spring 1728 – of thirty-five persons who ‘promise to subscribe the sum of two hundred pounds to the corporation of the Royal Academy of Music towards carrying on of Operas which are to begin in October 1728’.19 The list includes twenty-one former directors. This could lie behind Swiney’s statement on 27 May 1728 that Handel and Heidegger had both told him the Academy
There has been much confusion about these productions, ever since Burney attributed all four to Lampugnani, who was resident composer at the King’s Theatre in 1743–44. A further source of confusion was the use of the title Alexander in India: Metastasio’s famous libretto Alessandro nell’Indie was the source of Handel’s Poro but had no connection with his Alessandro.18 Handel, though not personally involved, lent his performing score of Alessandro in 1743, probably to redeem a broken promise to
the score, to overlook the skill with which he subdues bravura pieces and simile arias to the demands of the drama. In the theatre we may be conscious of uneven inspiration, especially in the third act, but we never feel, as might be expected from the libretto, that one half of the plot, and one heroine, is outclassed by the other. This is also a measure of Handel’s understanding of Admeto, who supplies not only the title but the central pivot of the opera. He is a much more sympathetic character
interrupt, but in a burst of anger she calls him a traitor and continues to mock him. She assures Costanza that she feels no hostility towards her; she wants only to punish Oronte. Isacio enters suddenly, sends away all but Costanza (Berardo under protest), and first tries to take her hand, then approaches as if to embrace her. She first retires, then kneels before him. Oronte enters hurriedly (Costanza quickly gets up) and announces that an ambassador from the English King is on his way. Isacio,
