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Cambridge University Press 978-1-107-00988-2 - The Politics of Opera in Handel’s Britain Thomas McGeary Index More information Index Acis and Galatea , 128 , 130 Artaserse , 232 , 243 Addison, Joseph, 17 , 33 , 117 Artaxerxes, 44 Cato , 24 , 28–30 , 31 , 39 , 165 , 213 , 224 Aspden, Suzanne, 165 , 169–70 Admeto , 13 , 87 , 239 Astarto , 216 , 233 , 240 Adriano in Siria , 162 , 163 , 219 , 240 Astianatte , 87 , 110 , 113 Albemarle, Anne, Countess of, 124 Aston, Walter Albion and Albanius , 15 , 19 Restauration of King Charles II, Th e , 182 Alcina , 39 , 52–3 , 165 Atalanta , 165 , 172 Alessandro , 13 , 92 , 109 , 243 Atterbury Plot, 67–8 , 72 , 78 , 94 , 135 Alessandro Severo , 82 , 247 Atterbury, Francis, Bishop, 43–4 , 67–8 , 72–4 Alexander Severus, 245 English Advice, to the Freeholders of England , allegory 57 criteria for, 48–51 Augusta, Princess, 154 , 160 , 164 , 167 , 200 eighteenth-century approaches to, 37–42 , Augustine, Saint, 241 98–104 Avidius Cassius, 245 Alliance of Hanover, 106 Ayres, Philip, 246 Amelia, Princess, 110 , 127 Ammirato, Scipio Bacon, Francis, 213 Discorsi sopra Cornelio Tacito , 212 Barnard, John, 183 Angelica e Medoro , 247 Barry, Edward, 43–4 , 246 Anne, Princess, 76 , 127 , 128 , 152 , 154 , 156 , Belloni letter, the, 130–2 , 134 , 148 162 , 168–71 Bernardi, Francesco , see Senesino Anne, Queen, 9 , 20 , 32 , 33 , 36 , 84 , 85 Bianconi, Lorenzo, 17–18 , 20 , 65 Antioco , 233 Bingley, Robert Benson, Lord, 72 , 74 , 93 Apollo and Daphne , 51 Blackmore, Richard, 12 , 38 , 40 , 48 , 99 application, reader, 31 , 35 , 46–7 , 55 , 91 Blanning, T. C. W., 14 Aquilio Consolo , 215 , 219 Bodin, Jean, 212 , 234 , 236 Arbace , 228 Bolingbroke, Henry St. John, Viscount, 28–30 , Ariane, ou le mariage de Bacchus , 15 , 19 34 , 57 , 58 , 84 , 94–5 , 99 , 107–8 , 128–9 , Arianna in Creta , 168–70 133 , 139–40 , 142 , 144 , 148–9 , 161 , 167 , Arianna in Nasso , 151 , 158 , 166 , 168–70 180 , 181 , 192 , 200 Ariodante , 165 Idea of a Patriot King, Th e , 180 , 200 Ariosti, Attilio, 63 , 79 on eff ects of opera, 107–8 Ariosto, Ludovico Bononcini, Giovanni, 51 , 53 , 62 , 63 , 65 , 70 , 129 Orlando furioso , 38 , 53 Cantate e duetti , 74 Aristotle, 213 Pastoral Entertainment, 130 , 148 Arminio , 203–5 , 219 , 221 persecuted as Jacobite, 72–9 Arminius, 201 B o r d o n i , F a u s t i n a , see Faustina Arnall, William, 132 , 146 Botero, Giovanni, 211 ars historica , 211–14 , 237 , 246 Bristol, Elizabeth Hervey, Countess of, 29 , Arsace , 216 77 , 78 Arsinoe , 20 , 233 Bristol, John Hervey, Earl of, 76 Art of Railing at Great Men, Th e , 98 British Enchanters, Th e , 16 , 19 401 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00988-2 - The Politics of Opera in Handel’s Britain Thomas McGeary Index More information 402 Index Brooke, Henry Costanze e fortezza , 14 Gustavus Vasa , 196–8 Cowper, William, Earl, 69 , 72 , 157 , 160–1 , 247 ministry attacks on, 198 Coxe, William, 160 Broschi, Carlo , see Farinelli Anecdotes of George Frederick Handel , 160 Brutus of Alba or, Augusta’s Triumph 1 6 Cripso , 219 Bucholz, Robert, 19 Cruickshanks, Eveline, 9 , 10 Buckingham, Catherine Sedley, Duchess of, Cumberland, William, Duke of, 202 74 , 76 Cuzzoni, Francesca, 7 , 22 , 63 , 65 , 70 , 88 , 104 , Buckworth, John, 165 109–10 , 111–12 , 113–16 , 119 , 120 , Burlington, Dorothy, Countess of, 112 122–3 , 124 , 125 , 127 , 129 , 150 , 151 , Burlington, Richard Boyle, Earl of, 10 , 64 , 158 , 160 , 247 112 , 160 Burney, Charles, 69 , 128 , 153 , 165 D’Aumont Rochebaron, Louis-Marie, 35 Byrom, John, 71 Dario , 230 , 232 , 236 , 242 Davies, Th omas, 194 , 195 C — and Country. A Play of Seven Acts , 102 De Fesch, William, 127 Caio Fabbricio , 215 , 217 , 219 de Saussure, C é sar, 112 Cajo Marzio Coriolano , 218 de Th oyras, Rapin Calfurnia , 219 , 220–1 History of England, Th e , 88 Calypso and Telemachus , 39 Dean, Winton, 88 , 147 , 148 Camilla , 20 , 51 , 53–5 , 109 , 233 , 246 Deborah , 128 , 136–45 , 155 , 159 Carestini, Giovanni, 151 Degenfeld, Count, 137 Caroline, Princess, 110 , 162 Deidamia , 248 Caroline, Queen, 76 , 110 , 112 , 139 , 147 , 156 , del P ò , Anna Strada, 129 , 139 , 150 168 , 191 , 196 del P ò , Aurilio, 129 , 133 , 135 Carteret, William, 94 , 161 Delany, Mary, 127 Cato of Utica, 28 , 216 Delawarr, John West, Lord, 154 , 157 , 160 , 247 Cato’s Letters , 106 , 226 Dennis, John, 30 , 39–40 , 48 , 118 , 210 , 246 Catone , 82 , 216 , 235 , 238 on allegory, 39–40 Chandos, James Brydges, Duke of, 128 , 158 Depredations Crisis, 173–8 Charitable Corporation, 130–2 Deutsch, O. E., 69 Charles II, 15–16 , 19 Dickinson, H. T., 11 Charles Rollin Do You Know What You Are About? , 158 Ancient History , 43 Dobson, Michael, 25 C h e s t e r fi eld, Philip Dormer Stanhope, Earl of, Donald, Burrows, 82 145–6 , 153 , 183 , 187 Dryden, John, 15–16 , 17 , 27–8 , 39 , 211 , 213 , Chisholm, Duncan, 35 , 36 214 Cibber, Colley, 25 , 28 , 29 , 47 , 116 , 176 , 185 , Albion and Albanius , 39 274 Spanish Fryar, Th e , 28 Cicero, 211 , 227 , 237 , 239 , 241 Dryden, John, and Nathaniel Lee “Dream of Scipio, Th e,” 215 Duke of Guise, Th e , 2 7 De Offi ciis , 214 Durastanti, Margherita, 151 Clark, J. C. D., 10 , 197 , 203 Clark, Jane, 70 Egmont, John Percival, Earl of, 76 , 101–2 , 126 , Clausen, Hans Dieter, 69 , 72 153 , 162 , 186 Cobham, Richard Temple, Viscount, 161 , 180 Elisabeth, Queen of Spain, 173 Temple of British Worthies, 202 , 206 Enea nel Lazio , 166 , 228–9 Colley, Linda, 10 , 72 Erasmus Congress of Soissons, 120–3 Institutio Principis Christiani , 213 Conquista del vello d’oro , 232 Erminia , 220 Continence of Scipio, 240 Esther , 128 Contre Temps; or, Rival Queans , 111 Europe’s Revels for the Peace , 16 Convention of the Pardo, 178 , 248 Excise, the, 135–6 , 138–45 , 161 , 169 , 180 Cornelius Nepos, 211 Ezio , 225 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00988-2 - The Politics of Opera in Handel’s Britain Thomas McGeary Index More information Index 403 Faramondo , 216 , 247 George I and II, feud, 58–61 , 82 , 83 Farinelli, 4 , 7 , 65 , 97 , 126 , 150 , 152 , 153 , 158 , George II, 5 , 31 , 45 , 47 , 58 , 72 , 76 , 83 , 86–90 , 161 , 165 , 166 , 174–6 , 185 , 210 , 247 91 , 95 , 99 , 102 , 112 , 139 , 140 , 145 , and court of Spain, 172–3 147–8 , 152 , 154–6 , 159 , 160 , 162–3 , and the War of Jenkins’ Ear, 173–8 169–70 , 177 , 180 , 186 , 193 , 195 , 198 , Farnace , 222 , 233 205 , 207 , 208 , 213 Fate of Favorites, Th e , 198 George III, 153 Faustina, 7 , 22 , 63 , 65 , 88 , 104 , 109–12 , Gibraltar, 104–8 , 111 , 113–16 , 121–3 , 175 113–16 , 119 , 120 , 122–3 , 125 , 127 , Gibson, Elizabeth, 82 129 Giove in Argo , 247 Felton, Henry Giulio Cesare , 40 , 92 , 233 , 241 , 242 Dissertation on Reading the Classics, A , 237 Giustino , 205–6 , 232 , 233 Festa d’Imeneo , 163 , 166 , 172 Godolphin, Sidney, Earl of, 73 , 78 Fielding, Henry, 183 , 184–6 Golden Rump, Th e , 186 cultural politics, 185 Gordon, Th omas, 232 Eurydice Hiss’d , 186 Cato’s Letters , 106 Historical Register for the Year 1736, Th e , Greene, Maurice, 128 185–6 Griselda , 229 Pasquin , 184 Grotius, Hugo, 234 , 236 Welsh Opera, Th e , 183 De Jure Belli ac Pacis , 226 Flavio , 241 Grove, Th e , 19 Fleury, Andr é , Cardinal, 106 , 112 , 114–15 , 120 , 122 Hammond, Brean, 185 Floridante , 81–6 , 230 , 233 , 236 Handel, George Frideric, 1–2 , 6 , 7 , 13 , Flower, Newman, 155–6 , 161 19 , 21 , 22 , 31 , 49 , 50 , 62–3 , 70–1 , Frederick, Prince of Wales, 7 , 41 , 47 , 147–8 , 82 , 119 , 126–8 , 129–30 , 135–42 , 144 , 151 , 152–66 , 167 , 171 , 178 , 180–1 , 146–8 , 150–2 , 155–65 , 178–9 , 189 , 183 , 186 , 189 , 190 , 191 , 192–3 , 195–6 , 206 198 , 199 , 200 , 202 , 205 , 207 , 208 , 214 , Deborah 248–9 and the Excise, 135 , 136–42 and the Opera of the Nobility, 152–66 fi nal opera seasons, 247–8 conventional account, 155–6 Floridante conventional account reconsidered, allegorized, 81–6 156–63 Giustino marriage celebration, 171–2 allegorized, 205–6 relations with parents, 147 , 153–5 , 166–8 , health, 247 247 , 249 Joseph and his Brethern , 248 reputation reconsidered, 152–3 Muzio Scevola allegorized, 79–81 Garth, Samuel relations with Frederick, Prince of Wales, prologue to Tamerlane , 46 164–5 Gay, John, 25 Riccardo primo Beggar’s Opera, Th e , 45 , 103–4 , 116–19 allegorized, 86–91 application to Walpole, 118 Rinaldo fi ctions about, 118–19 allegorized, 31–3 ministerial response to, 116–17 Silla use by the opposition, 117–18 allegorized, 35–7 Polly , 182 Sosarme generic expectation, 4–5 , 6 , 12 , 13 , 17 , 19 , 23 , allegorized, 146–8 37 , 42 , 55–6 , 79 , 147 , 169 Teseo George I, 5 , 9 , 36 , 44 , 45 , 47 , 53–4 , 57–60 , 63 , allegorized, 34–5 69 , 72 , 80–1 , 82 , 83 , 85–6 , 87 , 89 , 94 , Water Music , 60 106 , 111 , 112 , 114–15 , 121–2 , 127 , 152 , Handel–Heidegger partnership, 22 , 119 , 224 , 225 , 245 , 246 126–7 , 128 , 146 , 148 , 150 , 160 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00988-2 - The Politics of Opera in Handel’s Britain Thomas McGeary Index More information 404 Index Hanoverian celebratory pieces, 7 , 17 , 19 , 22 , King Arthur , 15 , 16 48 , 56 , 171–2 Kipling, John, 45 , 100–1 , 116 , 125 Harmony in an Uproar , 159 Harris, Ellen, 36 , 70 , 82 , 83 , 91 L’Odio e l’amore , 233 , 239 , 242–3 Harth, Phillip, 17 , 26 La clemenza di Tito , 243–4 Hatchett, William La conquista del vello d’oro , 39 Fall of Mortimer, Th e , 182–3 Langford, Paul, 101 Hawkins, John, 70 , 74 , 111 , 160 Law, William Haym, Nicola, 21 , 34 , 40 , 49 , 50 , 70 , 79 Absolute Unlawfulness of the Heidegger, John James, 7 , 49 , 50 , 58 , 61 , 62 , 63 , Stage-Entertainment, Th e , 51 111 , 120 , 124 , 126 , 138 , 139 , 140 , 158 , L a y e r , C h r i s t o p h e r , 4 3 , 4 4 , 6 8 , 7 7 159 , 177 , 247 Leeds, Juliana, Duchess of, 151 Henley, John “Orator,” 144 Leicester, Th omas Coke, Earl of, 162 Hyp-Doctor , 144 Lewis, C.
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  • Download Booklet

    Download Booklet

    The opportunity to record a disc of Handel’s course, but the very first operatic aria I knew and HANDELIAN PYROTECHNICS operatic arias came to me very early on in my life. learnt was ‘Art thou troubled? Music will calm GEORGE FRIDERIC HANDEL (1685-1759) I turned it down. As far as self-promotion and thee’: a not-very-faithful English rendering of general career-advancement were concerned, I ‘Dove sei’ from Handel’s Rodelinda. My choices could see how useful such a recording might be. for this recording have thus been guided by what Artistically-speaking I could not feel comfortable is significant to me, as well as their general with it. At this stage I had performed only a excellence. ‘Se possono tanto’ may seem obscure Xerxes, HWV 40 Rodelinda, regina de’ Longobardi, HWV 19 couple of Handel’s operatic roles on stage and I to some, but Poro was my first ever Handel role, 1 Ombra mai fù [3.11] 7 Dove sei [4.44] had found them a stern examination of technique, and I really need no excuse to include what is, stamina and emotional reserves. I resolved along with ‘Qual nave smaritta’ and ‘Dove sei’, Poro, re dell’Indie, HWV 28 Radamisto, HWV 12 therefore to aim to revisit this concept only when I a shining illustration of how frequently and 2 Se possono tanto due luci vezzose [5.45] 8 Qual nave smarrita [6.12] had performed a significant number of his operas, skilfully Handel uses the radiance of E major for 9 Ombra cara [7.44] and to choose repertoire for a recording that I a character’s defining aria.
  • Operatic Reform in Turin

    Operatic Reform in Turin

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA.
  • Parnasso in Festa: a Feast for Ears and Eyes the 2018 Handel Festival Halle

    Parnasso in Festa: a Feast for Ears and Eyes the 2018 Handel Festival Halle

    12 Opera con Brio, LLC May 2018 Opera con Brio Richard B. Beams Parnasso in Festa: a Feast for Ears and Eyes The 2018 Handel Festival Halle As it was four years ago in 2014, a hit of the sponsali di Teti e Peleo (“Parnassos in Celebration for the Handel-Festival Halle this year was Handel’s delightful Nuptials of Thetis and Peleus.”) The celebration was an serenata Il Parnasso in Festa. But the two performances allegory for the royal wedding of Princess Anne and could hardly have differed more. The first was a William IV of Orange, the occasion for which Handel scintillating concert performance by the acclaimed Cetra wrote the piece. The mythological figures of Thetis and Orchestra in its annual visit with Director Andrea Marcon Peleus are not personified in the serenata although a good and prominent international soloists, who brought out all part of the appeal of this production was the two baroque the virtuosic richness of this neglected work. The second dancers who eventually assumed their personas. was a fully staged, historically informed production at the intimate Goethe-Theatre Bad Lauchstadt from the equally renowned Lautten Compagney Berlin, in their annual visit. A spirited group of young soloists certainly reinforced the musical splendor of the work, yet the historically informed baroque performance, directed and choreographed by Belgian Baroque specialist Sigrid T’Hooft, made the evening a feast for ears and eyes alike. Handel’s enchanting work of 1733, much of it borrowed from the oratorio Athalia of 1732, is so Italianate that one would never know its source.
  • Il Complesso Barocco Edition

    Il Complesso Barocco Edition

    Handel: ADMETO (1726) Full score and piano-vocal Vivaldi: ERCOLE SUL TERMODONTE (1723) Full score and piano-vocal ISMN 979-0-2025-3382-6 Alan Curtis’ 1977 performance in Amsterdam‘s Concertgebouw, This important opera, performed in Rome a year earlier than DVD recorded by EMI with René Jacobs singing the title role, has now itself Il Giustino, was long thought to be lost. Nearly all the arias have Stains / Nesi / Cherici / become historical. Curtis has gone over the work and its sources again however been found, some missing their orchestral accompaniments, Dordolo / Bartoli / Scotting / and come up with new conclusions. Although the opera is published in various locations, and the lost recitatives and other missing parts Il Complesso Barocco / complete, he suggests ways to emend, cut, or compensate for the have been composed by Alessandro Ciccolini. Alan Curtis / directed by weaknesses of the outmoded libretto and restore Admeto to the John Pascoe (Spoleto position it deserves, as musically one of Handel’s greatest operas. Festival, 2006) Dynamic (2007) D. Scarlatti: TOLOMEO E ALESSANDRO (1711) Full score and piano-vocal Universally admired for his keyboard music, the vocal music of CD Domenico Scarlatti has until very recently been largely ignored. Hallenberg / Ek / Tolomeo e Alessandro was known only from a manuscript of Act I Invernizzi / Baka / Milanesi / in a private collection in Milan. Recently the entire opera turned up Nesi / Il Complesso Traetta: BUOVO D’ANTONA (1758) Full score and piano-vocal NEW in England and surprisingly revealed that Domenico was after all Barocco / Alan Curtis A charmingly light-hearted libretto by the well-known Venetian CD a very fi ne dramatic composer, perhaps even more appealingly so Universal Music Spain / playwright Carlo Goldoni, was set to music by the as-yet- Trogu-Röhrich / Russo- than his father Alessandro.