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Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information Index Aachen (Aix-la-Chapelle), 43 Blathwayt, Colonel John, 25 Abingdon, Unicorn Th eatre, 178 Boethius, 65 Académie de Musique et de Danse, Paris, 99 Boiardo, Matteo Maria, Accademia degli Infuocati, Florence, 165 Orlando innamorato , 58 - 9 Adelung, Johann Christoph, 120 Bononcini, Giovanni, 29 , 30 , 49 , 51 , 87 , 160 , Addison, Joseph, 20 , 23 , 123 , 169 , 172 161 , 199 , 201 , 203 Alden, David, 186 , 193 , 194 Astarto, 30 , 198 Algarotti, Francesco, 170 , 180 Astianatte, 30 , 202 Amadei, Filippo, 198 , 199 , 200 Calfurnia , 200 Anne, Princess, 58 Ciro , 198 , 200 Anne, Queen, 16 , 18 , 19 , 21 , 73 Crispo , 198 , 200 Annibali, Domenico, 38 , 176 Griselda , 198 Arbuthnot, Dr John, 18 , 19 , 24 Erminia , 200 , 201 Arcadia (Accademia degli Arcadi), 13 – 14 , 57 , Farnace , 200 68 , 85 , 87 , 167 Xerse , 160 Ariosti, Attilio, 30 , 200 , 201 , 203 B o r d o n i , F a u s t i n a ( s e e F a u s t i n a ) Artaserse , 200 Boschi, Giuseppe Maria, 166 , 168 , 170 , Aquilio Consolo , 200 199 , 203 Coriolano, 30 , 171 , 200 Brandenburg-Prussia, 1 Dario , 200 Brockes, Barthold Hinrich, 2 Elisa , 202 Brown, Lady Margaret, 45 Lucio Vero , 202 Burlington, 3rd Earl of (Richard Boyle), 19 , Teuzzone , 202 24 , 33 , 73 Vespasiano , 200 Burney, Dr Charles, 44 , 59 , 68 , 69 , 80 – 2 , 122 , Ariosto, Ludovico, 32 , 59 , 60 , 151 145 , 156 – 7 , 176 Orlando furioso , 59 , 151 Burrows, Donald, 18 , 42 , 136 Aristotle, 54 , 72 , 80 , 81 Arne, Th omas Augustine, 32 , 47 , 109 , 159 , 177 C a ff arelli, Gaetano, 81 , 176 Comus , 47 Caldara, Antonio, 13 Arteaga, Stefano, 79 Calzabigi, Raniero de, 81 Atterbury plot, 66 , 199 Campioli, Antonio Gualandi, 163 Augusta, Princess of Saxe-Coburg, 40 , 41 Cannons, 24 Capece, Carlo Sigismondo , 50 , 51 , 60 , 70 , 71 , Babell, William, 123 198 , 202 Bach, Johann Sebastian, 148 , 178 Carestini, Giovanni, 38 , 77 , 81 , 176 , 177 Baldi, Antonio, 191 Carli, Antonio Francesco, 166 , 168 Baretti, Joseph, 79 – 80 Carmelite order, 12 Bayreuth, 197 Caroline, Queen, 17 , 44 Beard, John, 37 Carsen, Robert, 186 , 194 Beggar’s Opera, Th e , 28 , 29 , 32 , 75 , 122 Cassiodorus, 164 Berenstadt, Gaetano, 171 , 203 Cavalli, Francesco, 51 , 160 Bernacchi, Antonio Maria, 32 , 191 Chandos, 1st Duke of (James Brydges), 24 Bertolli, Francesca, 33 Chimenti, Margherita, 43 207 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information 208 Index Chrissochoidis, Irene, 44 Galliard, John Ernest, 174 , 191 Cicero, 54 Galuppi, Baldassare, 46 – 7 , 82 Colman, Francis, 57 Gasparini, Francesco, 49 , 50 Colonna, Cardinal Carlo, 12 Gay, John, 19 , 29 , 75 (see also Beggar’s Conradi, Madame, 164 Opera, Th e) Conti, Gioacchino, 38 , 176 , 177 George I, King (Georg Ludwig, Elector), 16 , Corago, Il (Pierfrancesco Rinuccini), 180 18 , 23 , 24 , 27 , 31 , 73 , 88 Corelli, Arcangelo, 12 , 13 , 15 , 109 – 10 , 157 , 167 George II, King, 17 , 23 , 36 – 7 , 39 , 41 , 43 , 73 Corneille, Pierre, 56 , 72 , 79 , 85 , 170 Gibson, Elizabeth, 25 Pertharite , 56 , 85 – 6 Gluck, Christoph Willibald, 82 , 120 , 179 Covent Garden Th eatre, 32 , 36 – 42 , 45 , 46 , Glyndebourne Festival Opera, 186 , 187 , 188 , 135 – 6 , 175 , 176 192 , 193 , 194 Croce, Benedetto, 79 Goethe, Johann Wolfgang von, 109 , 121 Cuzzoni, Francesca, 27 – 8 , 30 , 88 , 134 , 170 , Gordon, Alexander, 199 171 , 176 , 191 , 201 , 203 Göttingen, 177 – 8 Gravina, Gian Vicenzo, 87 , 167 Dahlhaus, Carl, 184 Grimani, Cardinal Vincenzo, 14 – 15 , 49 Dean, Winton, 9 , 85 , 88 , 144 , 150 – 1 , 162 , 172 , Guarini, Battista, 173 , 177 , 178 , 189 , 190 Il pastor fi do, 23 , 49 , 57 Dent, Edward J., 68 Destouches, André Cardinal, 49 , 59 Hagen, Oskar, 177 – 8 Doni, Giovanni Battista, 56 Halle (Saale), 1 – 5 , 156 D’Oyley Carte Opera Company, 183 M a r k t k i r c h e , 3 Dresden, 25 , 26 , 50 , 53 Stadtgymnasium, 2 – 3 , 62 , 137 Drury Lane Th eatre, 47 University, 2 , 5 Dryden, John, 57 Hamburg, 1 , 2 , 5 – 10 , 14 , 57 , 62 , 92 , 100 , 109 , Albion and Albanius , 57 123 , 159 , 162 – 3 , 165 Alexander’s Feast , 40 Opera House (Th eater am Gänsemarkt), 5 , Dublin, 46 , 47 92 , 99 , 137 , 162 , 168 Durastanti, Margherita, 27 , 166 , 170 , 191 , 199 , Staatsoper, 192 200 , 201 Handel, George Frideric, works Düsseldorf, 16 Operas, pasticcios and related works Admeto , 31 , 50 , 52 , 56 , 70 , 71 , 133 , 134 , 171 , Emslie, Barry, 196 177 , 202 , 203 English National Opera (ENO), 186 , 187 , 192 , Agrippina, 14 , 15 , 16 , 27 , 48 , 49 , 52 , 102 , 193 , 194 107 – 20 , 126 , 130 , 131 , 132 , 166 , 167 , English Touring Opera (ETO), 187 – 8 168 , 178 Alcina, 32 , 38 , 39 , 41 , 51 , 52 , 58 , 60 , 61 , 66 , Fanshawe, Richard, 23 136 , 143 , 145 , 147 , 149 , 151 – 2 , 153 , 175 ‘Farinelli’ (Carlo Broschi), 35 , 39 , 41 , 44 , 76 , Alessandro , 28 , 46 , 52 , 70 , 71 , 72 , 88 – 91 , 133 , 81 , 173 134 , 176 , 182 , 202 ‘Faustina’ (Faustina Bordoni), 27 – 8 , 30 , 88 , Alessandro Severo , 44 134 , 170 , 171 , 176 , 203 Almira, 6 , 7 , 8 , 10 , 49 , 52 , 69 , 92 – 102 , 112 – 3 , Feind, Barthold, 2 , 8 , 63 , 163 123 , 125 , 130 , 134 , 144 , 146 , 159 , 163 , Ferrara, 58 , 60 164 , 166 , 167 , 175 , 177 , 191 , 192 Feustking, Friedrich Christian, 6 , 8 , 49 , 94 , 105 Amadigi di Gaula , 17 , 19 , 21 , 28 , 49 , 52 , 59 , Florence, 11 , 12 , 14 , 15 , 50 , 51 , 53 , 70 , 71 , 117 , 73 , 130 , 131 , 168 , 169 126 , 132 , 165 , 166 Arianna in Creta , 32 , 39 , 51 , 52 , 61 , 67 , 135 , Teatro del Cocomero, 102 , 165 136 , 175 Fougeroux, Pierre Jacques, 171 Ariodante , 32 , 38 , 39 , 51 , 52 , 60 , 61 , 71 , ‘Francesina’ (Elisabeth Duparc), 43 , 44 72 , 76 – 7 , 136 , 146 – 50 , 154 – 6 , 175 , Frilli, Stefano, 166 186 , 194 – 5 Frederick, Prince of Wales, 36 , 40 – 1 , 43 Arminio, 51 , 61 , 71 , 177 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information Index 209 Atalanta, 40 , 41 , 51 , 52 , 136 – 7 Tamerlano , 50 , 52 , 54 , 56 , 66 – 7 , 72 , 84 , 88 , Berenice, 42 , 51 , 71 129 , 133 , 144 , 191 , 200 , 201 Daphne, Die verwandelte , 6 – 8 , 48 , 49 , 52 , 163 Terpsicore , 58 Deidamia, 45 , 46 , 48 , 51 , 52 , 72 , 137 , 175 Teseo , 19 , 21 , 28 , 49 , 52 , 59 , 72 , 84 , 131 , Ezio , 32 , 50 , 66 , 69 , 70 , 77 , 82 , 135 , 139 168 , 169 Faramondo , 44 , 51 , 69 , 190 Tolomeo, 30 , 50 , 61 , 65 , 71 , 72 , 171 , 202 , 203 Flavio, 50 , 52 , 54 , 56 , 88 , 128 , 129 , 130 , 133 , Other works 134 , 200 Aci, Galatea e Polifemo , 117 – 18 Floridante , 26 , 49 , 66 , 72 , 88 , 133 , 191 , 198 , Acis and Galatea , 32 , 33 , 40 200 , 202 Alexander’s Feast, 40 , 45 , 71 , 197 Florindo, Der beglückte, 6 – 8 , 48 , 49 , 52 , 163 L’ Allegro ed il Penseroso , 43 Giove in Argo , 45 , 46 , 47 Athalia , 31 Giulio Cesare in Egitto , 50 , 52 , 56 , 72 , 84 , ‘Brockes Passion’ (Der für die Sünden der Welt 128 – 9 , 133 , 135 , 171 , 178 , 186 , 188 – 9 , gemarterte und sterbende Jesus), 2 192 , 193 , 200 , 201 , 202 Cantata: Agrippina condotta a morire , 126 Giustino , 51 , 175 , 177 Cantata: Ah crudel, nel pianto mio , 126 Imeneo, 45 , 46 , 47 , 51 , 74 , 137 , 175 Cantata: Apollo e Dafne , 125 Lotario , 31 , 50 , 51 , 52 , 55 , 84 , 134 – 5 , 175 , 191 Cantata: Clori, Tirsi e Fileno , 116 – 17 Muzio Scevola, 26 , 30 , 49 , 54 , 56 , 72 , 133 , Cantata: Da quel giorno fatal , 116 – 17 170 , 190 , 198 , 199 , 200 Cantata: Hendel, non può la mia Musa , 13 Nero, 6 , 8 , 10 , 48 , 49 , 92 , 163 , 164 Cantata: Qual ti riveggio , 126 Oreste, 39 , 175 Cantata: Un sospir a chi si muore , 126 Orlando, 26 , 32 , 51 , 52 , 53 , 58 , 60 , 70 , 71 , Choice of Hercules, Th e , 71 128 , 144 – 6 , 147 , 151 , 152 – 4 , 176 Concerti Grossi , Op. 6, 43 , 45 Ottone , 27 , 50 , 51 , 67 , 72 , 133 , 177 , 187 , 190 , Deborah , 31 , 33 191 , 200 , 201 , 202 Deutsche Arien , 2 Parnasso in Festa , 32 , 58 Esther , 33 , 39 , 40 Partenope , 50 , 68 , 191 Funeral Anthem for Queen Caroline, 43 , 44 Pastor fi do, Il , 22 – 3 , 37 , 39 , 48 , 49 , 52 , 57 , 58 , Israel in Egypt , 43 , 45 59 , 72 , 84 , 126 , 131 , 136 , 175 Messiah , 13 Poro, 38 , 50 , 52 , 61 , 66 , 69 , 82 , 135 , 173 Ode for the Birthday of Queen Anne , 18 Radamisto , 30 , 49 , 56 , 62 , 73 , 74 , Organ concertos, 38 , 39 , 109 , 126 132 – 3 , 145 , 171 , 175 , 191 , 198 , 199 , 202 Resurrezione, La 13 , 71 , 113 , 115 Riccardo primo, 40 , 50 , 52 , 67 , 72 , 73 , 88 , Saeviat tellus , 125 133 , 202 , 203 Saul , 43 , 45 , 46 Rinaldo , 19 , 21 – 2 , 23 , 28 , 31 , 32 , 37 , 38 , 48 , Trio sonatas, Op.2, 126 49 , 52 , 57 , 59 , 60 , 66 , 67 , 72 , 73 , 84 , 102 , Trionfo del Tempo e del Disinganno, Il, 1 3 , 121 – 6 , 127 , 128 , 130 – 1 , 168 , 169 , 186 , 190 , 45 , 111 , 123 – 5 , 167 192 , 194 ‘Utrecht’ Te Deum and Jubilate , 18 Rodelinda, 36 , 50 , 52 , 55 , 56 , 71 , 72 , 84 , 85 – 7 , Handel Opera Society, 178 88 , 133 , 137 – 43 , 154 , 177 , 178 , 200 , 201 , 202 Hanover, 16 , 17 , 18 , 50 , 58 , 70 , 88 , 162 , 169 Rodrigo (Vincer se stesso è la maggior Harnoncourt, Nikolaus, 138 , 166 vittoria) , 14 , 15 , 16 , 49 , 52, 55 , 71 , 83 , Harris, James, 45 102 – 6 , 107 , 117 , 125 , 126 , 131 – 2 , 166 , 167 Harris, Th omas, 45 Rossane , 46 Hasse, Johann Adolf, 35 , 81 , 138 , 157 , 173 Scipione , 50 , 71 , 72 , 88 , 133 , 134 , 191 , Hawkins, John, 17 202 , 203 Haydn, Joseph, 146 Serse , 43 , 44 , 47 , 51 , 52 , 55 , 68 , 156–61 , 178 , Haym, Nicola Francesco, 30 , 31 , 49 , 50 , 65 , 71 , 72 , 186 – 7 , 192 , 193 84 – 7 , 88 , 139 , 198 , 199 , 200 , 201 , 202 , 203 Silla , 22 , 49 , 53 , 72 , 74 , 84 Haymarket, Th e King’s / Queen’s Th eatre in Siroe , 50 , 56 , 66 , 69 , 72 , 82 , 133 , 171 , the, 1 , 16 , 19 , 20 , 24 , 32 , 33 , 35 , 37 , 38 , 39 , 202 , 203 42 , 45 , 59 , 85 , 102 , 127 , 132 , 167 – 8 , 171 , Sosarme , 50 , 51 , 55 , 70 , 71 , 135 175 , 177 , 183 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information 210 Index Heidegger, John Jacob, 25 , 30 , 31 , 35 , 43 , Larue, C.
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  • NEWSLETTER of the American Handel Society

    NEWSLETTER of the American Handel Society

    NEWSLETTER of The American Handel Society Volume XVI, Number 1 April 2001 HANDEL’S SCIPIONE AND THE NEUTRALIZATION OF POLITICS1 This is an essay about possibilities, an observation of what Handel and his librettist wrote rather than what was finally performed. Handel composed his opera Scipione in 1726 for a text by Paolo Rolli, who adapted a libretto by Antonio Salvi written for a Medici performance in Livorno in 1704.2 Handel’s and Rolli’s version was performed at the King’s Theater in the Haymarket for the Royal Academy of Music.3 The opera has suffered in critical esteem not so much from its own failings as from its proximity in time to the great productions of Giulio Cesare, Tamerlano and Rodelinda which preceeded it. I would like to argue, however, that even in this opera Handel and Rolli were working on an interesting idea: a presentation of Roman historical material in ways that anticipated the ethical discussions that we now associate with the oratorios. If that potential was undermined by what was finally put on stage, it is nevertheless interesting to observe what might have been. Narrative material from the Roman republic was potentially difficult on the English stage of the early eighteenth century. The conquering heroes of the late Roman republic particularly—Sulla, Pompey, and especially Caesar—might most easily be associated with the monarch; but these historical figures were also tainted by the fact that they could be identified as tyrants responsible for demolishing republican freedom. Addison’s Cato had caused a virtual riot in the theatre in 1713, as Whigs and Tories vied to distance themselves from the (unseen) villain Caesar and claim the play’s stoic hero Cato as their own.
  • Tolomeo 28 29 Essay: Tolomeo Tolomeo: the Thorn in the Mind

    Tolomeo 28 29 Essay: Tolomeo Tolomeo: the Thorn in the Mind

    Artwork pages 1/9/06 12:24 Page 28 Essay: Tolomeo 28 29 Essay: Tolomeo Tolomeo: the Thorn in the Mind Background characterisation shallow. And these are the opera ‘buffs’, who titter through performances! George Frederic Handel was the most One of the happiest discoveries of my career inventive and accomplished composer of is that, in general, audiences instinctively opera in Britain, and probably the most know better. significant impresario. He not only composed very many operas, but he arranged for their The Production production, engaged singers and theatres, rehearsed and conducted performances. Tolomeo has fascinated me for years. The Tolomeo (1728) belongs to his second period Argument printed with the wordbook (the under the umbrella of the Royal Academy opera would have been performed in Italian (after the almost unbelievably creative seasons with a printed wordbook available sale in the of 1724-5, which included Tamerlano, Giulio dimly lit theatre) is stirring: Cesare and Rodelinda). At this point Handel had lost his theatre, his lead singers, and Cleopatra, who never appears, presides over much of his following to a rival; renting the the action. She is the textbook cruel mother: King’s theatre, he had to outdo the husband discarded or dead, she raises to her competition, so he secured a line-up of the throne (and bed?) her the firstborn son; finest Italian singers: the castrato Senesino unsatisfied, she exiles him, sends his wife to remained with him, closely followed in fame by slavery, butchers the children, and then raises the two sopranos Francesca Cuzzoni and up the younger son to supplant him (as he Faustina Bordoni, the bass Boschi, and the supplanted the father, no doubt) and make less accomplished castrato Baldi.
  • Handel: First Discovery Music Free Ebook

    Handel: First Discovery Music Free Ebook

    FREEHANDEL: FIRST DISCOVERY MUSIC EBOOK Mildred Clary,Penelope Stanley-Baker,Charlotte Voake | 26 pages | 01 May 2002 | Moonlight Publishing Ltd | 9781851033225 | English | London, United Kingdom What is the oldest known piece of music? List of incidental music by George Frideric Handel HWV Title Premiere Venue Notes 43 The Alchemist: 14 January Queen's Theatre, London Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo. 44 Comus: June Ludlow Castle, Shropshire. first piece of music in 30 minutes at the age of five the authentication of the royal academy of music s handel discovery is thought to have taken years' 'gee frideric handel biography positions amp facts may 28th, - gee frideric handel german born english poser of the late baroque era noted particularly. George Frideric Handel. SERIES: First Discovery Music; AGE RANGE: Children's books for 7 - 11 years; THEMES: Classical composers, Music £ Did you know that Handel played music in secret as a child, because his father did not want him to be a musician?. Toppsta - Childrens Books – Reviews Read reviews of all the First Discovery in Music (Abrsm) books and how to read First Discovery in Music (Abrsm) in order. Book 1 in the series is Piotr Ilyich Tchaikovsky. George Frideric Handel. SERIES: First Discovery Music; AGE RANGE: Children's books for 7 - 11 years; THEMES: Classical composers, Music £ Did you know that Handel played music in secret as a child, because his father did not want him to be a musician?. first piece of music in 30 minutes at the age of five the authentication of the royal academy of music s handel discovery is thought to have taken years' 'gee frideric handel biography positions amp facts may 28th, - gee frideric handel german born english poser of the late baroque era noted particularly.
  • NEWSLETTER of the American Handel Society

    NEWSLETTER of the American Handel Society

    NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA).