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Home , Alcina, Ariodante, Athalia (Handel), Gaetano Guadagni, Giovanni Carestini, Hercules (Handel)

Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 2

CORO Edition CORO The Sixteen Edition Heroes and Heroines Handel

To find out more about The Sixteen, concerts tours THE SYMPHONY OF or to buy CDs, visit www.thesixteen.com C O R 1 6 0 2 5 HARMONY AND INVENTION Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 46

FROM (Dejanira) I have to confess thatOfficial this recording launch of makes‘Heroes me and feel Heroines’ very Sarah Connolly proud. Proud, in thatat everythe 2004 singer Handel who in has Oxford ever Festival,left The bm Sinfonia (Act 2) Sixteen to pursue a solomade career, possible has through been, andthe generousindeed is, Heroes and Heroines very successful. Sarahsupport Connolly, of The however, Zvi Meitar is more Family than Fund. that – she is exceptional. bn She sang with theRecording group in Producer: the late Mark 1980s Brown and early 1990s and her virtuosity,Recording stunning Engineer: performing Mike Hatch ability Dissembling, false, perfidious Hercules!HARRY CHRISTOPHERSThe sun should cease to dawn, the silver moon and vivacious personalityRecorded were at St. very Silas muchthe Martyr, apparent then; Did he not swear, when THEfirst heSYMPHONY woo’d my OFlove, HARMONYBe blotted AND fromINVENTION her orb, ere he prov’d false? Kentish Town, there was always an additional surge of electricity when Photography: Peter Warren. www.peterwarren.co.uk she was around. Now, of course, Sarah is one ofVocal this Consultant: country’s Gerald finest Martin singers Moore and a great Handelian. I had the pleasure of conductingCostume her inDesign: Handel’s Sue Blane ‘’ at Air Cease, ruler of the day Hair Stylist: Charlotte Murray English National two seasons ago. For thoseMakeup of Artist:you who Daniel have Sandler not seen her on Cease, ruler of the day, to rise, To your bright beams he made appeal, stage, you simply must; she is a consummate artist.Computer setting and printing of music: Peter Jones nor, Cynthia, gild the ev’ning skies. with endless night his falsehood seal! This recording is dedicated to the loving This is no run-of-the-mill Handel disc;Design: Sarah Richard and I hadBoxall no Design desire Associates just to pile memory of my mother, Jane Connolly. together her favourite arias. We wanted to depict2004 not The only Sixteen the closeProductions links Ltd. between © 2004 The Sixteen Productions Ltd. bo Accompagnato Where shall I fly opera and in Handel’s works but also equate the position of hero and heroine. While both ‘’ and ‘Ariodante’ are epic and ‘’ is a For further information about Where shall I fly, where hide this guilty head? Megaera fell, and black Tisiphone! sacred oratorio, ‘Hercules’ falls into the gap (orThe perhaps Symphony it bridges of Harmony that and gap). Invention It is a Oh fatal error of misguided love! See the dreadful sisters rise! secular oratorio with an English but conceivedand The Sixteen as an recordings opera although on Coro, Handel finally termed it a ‘Musical Drama’. call +44 (0) 1865 793 999 Oh, cruel , how art thou reveng’d! Their baneful presence taints the skies! or email [email protected] We close the disc with one of the greatest mad scenes in , that of Wretch that I am, by meSARAH Alcides CONNOLLY dies! AND HARRY CHRISTOPHERSSee the snaky WOULD whips LIKE they bear! www.thesixteen.com These impious hands haveTO THANK sent my ALL injur’d THOSE WHOlord MADEWhat THIS RECORDING yellings rend POSSIBLE: my tortur’d ear! Dejanira’s (Hercules’ wife) vision of the furies. It was also the last piece we recorded untimely to the shades! LetHelen me B.be Casey mad! Hide Rodneyme from and their Sylvia hatedGalpin sight, and, quite frankly, none of us wanted these sessions to end. It has been a privilege for Chain me, ye Furies, Theto yourZvi Meitar iron Family beds, Fund friendly shadesAnthony of Fryblackest night! everybody concerned to be a part of this recording. and lash my guilty ghost withMark whips Loveday of scorpions! Alas! No restJane theConnolly guilty find N See, see, they come! Alecto with her snakes!Photography by Peterfrom Warren, the pursuing furies of the mind! www.peterwarren.co.uk

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Sarah Connolly (‘The Silver Tassie’), Dido (‘The Trojans’) ALCINA () THE SYMPHONY OF and the title role in ‘’ 1 Sinfonia (Act 3) 0.50 HARMONY AND INVENTION Born in County Durham, Sarah Connolly which was televised for the BBC. 2 Sta nell’ Ircana 5.50 studied and singing at the Royal Her concert engagements include College of Music. appearances at the , 3 Mi lusingha il dolce affetto 7.10 Walter Reiter (leader), Her U.S. debut in the title role of Konzerthaus, Philharmonie and the Theresa Caudle, Elen O’Dell, Hannah Tibell, Jane Gordon, ‘Ariodante’ for the , Amsterdam Concertgebouw, with such SOLOMON () during the 1999/2000 season, was hailed as conductors as Sir Simon Rattle, Sir Colin Miles Golding, Claire Mera Nelson, 4 Sinfonia – an enormous success and was described in Davis, Daniel Harding, Edo de Waart and Claire Sansom, Sarah Moffatt, Arrival of the Queen of Sheba 3.00 the New York Times as ‘Phenomenal... Philippe Herreweghe. She is also a regular Rebecca Rule The voice is dark and true, remarkably guest artist at the BBC Promenade Concerts 5 Recit & : VIOLA flexible and filled with the required heat.’ at the . Committed to Will the sun forget to streak 6.00 Stefanie Heichelheim, Emma Alter Subsequent engagements in the U.S. include promoting new music, her world premiere the singing Ino and Juno performances include Mark-Anthony ARIODANTE (Ariodante) Jane Coe, Helen Gough in ‘’, returns to NYCO as Romeo Turnage’s ‘’ with 6 Sinfonia to Act 2 0.30 (‘I Capuleti ed i Montecchi’) and in the title The Schoenberg Ensemble conducted by DOUBLE role of ‘Xerxes’, and her debut at the Knussen and Jonathan Harvey’s 7 Recit & Aria: Scherza infida 8.20 Jan Spencer as Annio (‘La Clemenza ‘Songs of Li Po’ at the Aldeburgh Festival. 8 Dopo notte 7.00 di Tito’). European appearances include She has recorded Rameau’s ‘Les Fêtes Christine Garratt Nerone (‘L’Incoronazione di Poppea’) at the d’’ with Les Arts Florissants under ALCINA (Ruggiero) Maggio Musicale in Florence, the title role in William Christie (winner of the 1998 Mark Baigent, Catherine Latham ‘The Rape of Lucretia’ at the Festival Gramophone Early Opera Award and 9 Entrée des songes agréables 2.00 and her debuts at the Paris Opera as Sesto nominated for a Grammy Award), Bach bl Verdi prati 4.20 BASSOON (‘’) and the Theatre des Champs Cantatas with Collegium Vocale and Philippe Sally Jackson Herreweghe, Vivaldi’s ‘Juditha Triumphans’ Elysées as Juno. At HERCULES (Dejanira) HORN her roles include Xerxes, Ariodante, Ruggiero with the King’s Consort, and a recital disc of Anneke Scott, Robin Cane (‘Alcina’), Dido (‘’), Susie Schönberg songs with Iain Burnside. bm Sinfonia (Act 2) 3.00 bn Recit & Aria: Cease, HARPSICHORD ruler of the day 3.30 Matthew Hall, Alastair Ross “Connolly seals her reputation as our best Handel mezzo in many years. The voice is richly bo Where shall I fly 7.00 THEORBO coloured, delicately used but incisively dramatic. She brings Handel to open-hearted expressive life... David Miller, Eligio Quinteiro she knows the style through and through, and makes the maximum effort within it.” Total timing 65.00 HARP FINANCIAL TIMES Siobhan Armstrong

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sprang a powerful tension between idealized singers portraying his operatic heroes as much boisterous ‘Sta nell’Ircana’, in which the singer’s Heroes and Heroines moral values and credible human situations. variety as possible in the arias they were given vocal display is given additional sheen by Heroes in Handel’s world were in short supply. Family quarrels, thwarted ambition, professional to sing. Ruggiero in ‘Alcina’ is a case in point. Handel’s inclusion of a prominent brace of The early 18th century was an era which, like rivalry and love in all its aspects were no less Doubtless he interested the composer rather horns in the score. any other, admired bravery and courage, genuine for 18th century men and women than more for being essentially a flawed character, Carestini had already made his mark on looking back nostalgically to the fearless they are for us, but the Baroque era liked to one whose male energy is currently misused London audiences in ‘Ariodante’, premiered at warriors and doughty deeds of the past, yet filter these through plots derived mostly (though (according to the severe ethical system operated in 1735. Here too Handel had found it difficult to create a heroic dimension not exclusively) from the classical past. The in Baroque opera) in the service of Alcina, the sought to vary the style of hero’s arias, and in around their modern equivalents. One of the characters, seldom more than half a dozen, were sorceress who has imposed a species of erotic this case the libretto made his task easier. The period’s most famous marching songs, ‘The exclusively royal and noble, and the hero was slavery on him. Hence Handel’s insistence on drama, based on the same story which inspired British Grenadiers’, makes an explicit parallel frequently presented as a warrior, wearing a giving the role’s creator the Shakespeare’s ‘Much Ado About Nothing’, between the contemporary soldier of the Duke Roman-style plumed helmet and breastplate, dreamy rondo ‘Verdi prati’, whose apparent involves a malicious attempt by the evil duke of Marlborough’s army during the Spanish and set within the context of his prowess on simplicity is shadowed with melancholy as Polinesso to thwart the happiness of Prince Succession War (1703 – 1713) and the great the battlefield, equalled, implicitly or explicitly, Ruggiero anticipates the destruction of the Ariodante on the threshold of marriage by military men of antiquity such as Alexander by his attractiveness to women. delightful magic world surrounding him. When denouncing his fiancée Ginevra as an adulteress. the Great and Hector of Troy. Yet few people The singers of such roles were castrati, male Carestini at first refused to sing this aria, Handel Tricked into believing the worst, Ariodante, in who knew the mythological and historical eunuchs whose powerful or mezzo- exclaimed “ You dog! Don’t I know better as the aria ‘Scherza infida’, prepares to embrace background from which such characters sprang soprano voices were entirely acceptable to 18th yourself what is best for you to sing? If you will death, and in its second section threatens his would honestly have accepted the analogy at century audiences as the medium through which not sing all the song what I give you, I will not apparently faithless loved one that he will return face value. Marlborough himself, for all his orthodox (uncastrated) masculinity could be pay you one stiver!” As so often, the composer as a ghost to haunt her. Once again the orchestra victories and the honours heaped on him by portrayed. On Handel’s stages, whether at the was right, and it was through the aria’s sheer plays its part. Under the starkness of the vocal Queen Anne, never became a hero figure, and King’s Theatre in the Haymarket or at Covent artless beauty that Carestini made his biggest line, a bassoon, as elsewhere in Handel’s work, there was a distinct feeling that the modern Garden, there was no credibility gap between a impact on the audience. represents the idea of a spirit rising ominously world was somehow unable to produce the gelded male singing in the treble clef and the Ruggiero’s ‘Mi lusinga il dolce affetto’ offers from the shades. type of superhuman apparently standard-issue virile ardours he was called upon to express. a more complex portrayal of his heroic Polinesso’s dastardly plot is foiled and in ancient Greece and . The convention was too powerfully established uncertainties. Its rhythms are essentially those Ginevra, after languishing in gaol, is about to Opera has always depended for some on the operatic stage for Handel to dispense of a minuet, the most popular courtly dance be set free. No air could offer a more obvious measure of its success on wish-fulfilment, and with it, and even in ‘’, one of his last form of the period, but within this stylised contrast with ‘Scherza infida’ than Ariodante’s if heroes were unavailable in the everyday , he was prepared to return to the framework we can sense his growing confusion, jubilant ‘Dopo notte’, the perfect example of world of 18th century London, Handel and his as hero in order to accommodate the following an encounter with his former lover Handel’s uncanny sensitivity to the dramatic librettists could at least bring them to life in talents of , one the finest of , an early indication that Alcina’s nuance of an aria text. The music’s buoyancy the theatre. At its finest, Italian , the whole breed. magic is starting to lose its force. If Carestini felt doesn’t just mirror the hero’s relief as ‘ after a the dramatic genre in which the composer Though their theatrical gifts varied cheated of the chance for heroic posturing, he black and gloomy night the sun shines more specialized for over 30 years of his creative life, considerably, Handel was keen to give the would be more than compensated with the brightly in the heavens’, but suggests that 6 7 Heroes Booklet 5/8/04 2:33 pm Page 8

Ariodante has finally regained that youthful song of farewell to him, ‘ Will the sun forget to FROM ALCINA (Ruggiero) verve and optimism which made him such an streak’, has what Shakespeare calls ‘ a dying fall’ attractive figure at the start of the opera. to the melody suspended over the gently rocking 1 Sinfonia (Act 3) For Handel, the female characters in an string accompaniment, which suggests rather opera or oratorio were often more interesting more than mere polite leavetaking. Is Handel than their male counterparts. The word implying that she has left her heart behind? 2 ‘Shakespearean’ is often used to describe his The subtle understatement suffusing this Aria Stà nell’ Ircana musical portrayal of women, and he seems to enchanting air is completely foreign to Dejanira, have had a special interest in the relationship the tragic heroine of ‘Hercules’, presented as ‘ a Stà nell’ Ircana pietrosa tana An angry Hyrcanian tigress lurks between an individual dramatic role and the New Musical Drama’ in 1745. From the opening tigre sdegnosa, e incerta pende, in her stony lair, hesitating, uncertain particular vocal quality of the female soloist of the work, based on a play by Sophocles se parte, o attende whether to flee or await creating it. Figures as diverse as Semele, and telling the story of Hercules’s death at the il cacciator. the hunter. Cleopatra, Galatea, Alcina or bear hands of his jealous wife, she is completely Stà nell’ Ircana... The angry Hyrcanian tigress lurks... witness to the ways in which this astonishing enslaved by the negative emotions which will empathy with both the character and the ultimately push her over the edge of reason. Dal teso strale She wants to save herself interpreter continued to inspire Handel. Fearful for the fate of Hercules in battle, guarder si vuole; from the strung arrow; Whereas the dramatic hero in 18th century Dejanira becomes suspicious, on his safe return, ma poi la prole but then she would leave Italian opera was expected to represent certain as to his interest in the captive princess , lascia in periglio. her young in danger. key values and manly qualities, life was made and the aria ‘ Cease, ruler of the day’ reveals the Freme e l’assale She shudders, easier for the heroine through a contemporary sombre depths of her vulnerability. When she view of women in general as being changeable finally loses her sanity, the great desio di sangue, assailed by the lust for blood, and capricious creatures ruled entirely by their Handel designed for her alternates snarling pietà di figlio; but also by pity for her offspring; passions. The only burden of expectation laid rage and moments of eerie calm, matched by a poi vince amor. finally love wins. on them, whether in opera, spoken drama or freedom in the shifts of tempo and key within Stà nell’ Ircana... An angry Hyrcanian tigress lurks ... the novel, was that of sexual propriety. Several the piece. This whole fearsome evocation of Handel heroines come close to losing their ‘the pursuing furies of the mind’, rewarding the reputations, but few of them actually take the gifts of both singer and actress, is one of the final and irrevocable step. most original moments in Handel’s late In ‘Solomon’ the Queen of Sheba, her arrival dramatic works, looking beyond the Baroque heralded by the bustling sinfonia which has to the operatic world of Gluck, Mozart and even become one of the most popular Handelian the early Romantics. orchestral items, remains chastely admiring of the great king’s wisdom and wealth. Yet her JONATHAN KEATES

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sprang a powerful tension between idealized FROM SOLOMON (Queen of Sheba) Heroes and Heroines moral values and credible human situations. Heroes3 in Handel’s world were in short supply. Family quarrels, thwarted ambition, professional 4 Sinfonia – Arrival of the Queen of Sheba TheAria early 18thMi century lusinga was an era il which, dolce like affettorivalry and love in all its aspects were no less Sinfonia – Arrival of the Queen of Sheba any other, admired bravery and courage, genuine for 18th century men and women than Mi lusinga il dolce affetto She deceives my sweet affection looking back nostalgically to the fearless they are for us, but the Baroque era liked to 5 warriorscon l’aspetto and doughty deeds of the past, yet filterwith thethese aspect through plots derived mostly (though Recitative founddel mio it bene. difficult to create a heroic dimension notof my exclusively) dearest. from the classical past. The May peace in Salem ever dwell! aroundPur chi sà?their modern equivalents. One of the characters,Yet who knows? seldom more than half a dozen, were May peace in Salem ever dwell! SoftSoft as as the the show’rs show’rs that that cheer cheer the the vernal vernal air; air; Illustrious Solomon, farewell: period’stemer conviene, most famous marching songs, ‘The exclusivelyIt is as well royalto fear and noble, and the hero was Illustrious Solomon, farewell: WhoseWhose warmth warmth bids bids ev’ry ev’ry plant plant her her sweets sweets disclose, disclose, Thy wise instructions be my future care, Britishche m’inganni Grenadiers’, makes an explicit parallel frequentlythat, in loving, presented I may as a warrior, wearing a Thy wise instructions be my future care, TheThe lily lily wakes, wakes, and and paints paints the the op’ning op’ning rose. rose. betweenamando ancor.the contemporary soldier of the Duke Roman-styleagain be deceived. plumed helmet and breastplate, of Marlborough’s army during the Spanish and set within the context of his prowess on Mi lusinga... Sweet affection flatters me... Succession War (1703 – 1713) and the great the battlefield, equalled, implicitly or explicitly, Air Will the sun forget to streak militaryMa se quella men fosse of antiquity mai such as Alexander byBut his were attractiveness this really she to women. theche Greatadorai, and Hector of Troy. Yet few people whomThe Isingers adored, of such roles were castrati, male who knew the mythological and historical eunuchs whose powerful soprano or mezzo- Will the sun forget to streak eastern thenthen demand demand if ifSheba’s Sheba’s queen queen e l’abbandono; and I now forsook her, background from which such characters sprang soprano voices were entirely acceptable to 18th skies with amber ray, e’ere’er can can banish banish from from her her thought thought wouldinfidele, honestly ingrato iohave sono, accepted the analogy at centurythen would audiences I be unfaithful, as the medium ungrateful, through which when the dusky shades to break allall the the splendour splendour she she has has seen, seen, faceson crudelevalue. Marlboroughe traditor. himself, for all his orthodoxand a cruel (uncastrated) traitor. masculinity could be he unbars the gates of day? allall the the knowledge knowledge thou thou hast hast taught. taught. victoriesMi lusinga... and the honours heaped on him by portrayed.Sweet affection On Handel’s flatters me... stages, whether at the Queen Anne, never became a hero figure, and King’s Theatre in the Haymarket or at Covent there was a distinct feeling that the modern Garden, there was no credibility gap between a world was somehow unable to produce the gelded male singing in the treble clef and the type of superhuman apparently standard-issue virile ardours he was called upon to express. in ancient Greece and Rome. The convention was too powerfully established Opera has always depended for some on the operatic stage for Handel to dispense measure of its success on wish-fulfilment, and with it, and even in ‘Theodora’, one of his last if heroes were unavailable in the everyday oratorios, he was prepared to return to the world of 18th century London, Handel and his castrato as hero in order to accommodate the librettists could at least bring them to life in talents of Gaetano Guadagni, one the finest of the theatre. At its finest, Italian opera seria, the whole breed. the dramatic genre in which the composer Though their theatrical gifts varied specialized for over 30 years of his creative life, considerably, Handel was keen to give the 106 11 Heroes Booklet 5/8/04 2:33 pm Page 12

FROM ARIODANTE (Ariodante) FROM ALCINA (Ruggiero) 6 Sinfonia to Act 2 9 Entrée des songes agréables

7 Recitative bl Aria Verdi prati E vivo ancora? E senza il ferro, oh! Dei! Do I still live? And without my sword? Che farò? che mi dite, o affanni miei? Oh God, what shall I do, in my trepidation? Verdi prati, selve amene, Verdant meadows, pleasant woodlands, perderete la beltà. you will lose your loveliness. Verdi prati, selve amene, Verdant meadows, pleasant woodlands, Aria Scherza infida perderete la beltà. you will lose your loveliness.

Scherza infida in grembo al drudo. Be merry, faithless one, in your lover’s embrace. Vaghi fior, correnti rivi, Pretty flowers, purling streamlets, Io tradito a morte in braccio Because of your betrayal I now go forth la vaghezza, la bellezza your gracefulness, your comeliness, per tua colpa ora men vo. into the arms of death. presto in voi si cangerà. soon will all be changed. Ma a spezzar l’indegno laccio, But to break this undeserved bondage, Verdi prati, selve amene, Verdant meadows, pleasant woodlands, ombra mesta, e spirto ignudo, as a mournful shadow, a manifest spirit, perderete la beltà. you will lose your loveliness. per tua pena io tornerò. I will return to haunt you. E cangiato il vago oggetto And changed will be this beguiling vista; Scherza infida... Be merry, faithless one... all’ orror del primo aspetto to the horror of its former aspect tutto in voi ritornerà. will all return again. 8 Aria Dopo notte Verdi prati, selve amene, Verdant meadows, pleasant woodlands, perderete la beltà. you will lose your loveliness. Dopo notte, atra e funesta, After night, dark and funereal, splende in ciel più vago il sole, the sun shines more radiantly in the sky e di gioia empie la terra. and fills the earth with joy. Mentre in orrida tempesta Whereas in the dreadful tempest il mio legno è quasi assorto, my ship was almost engulfed, giunge in porto, now it has reached the harbour e ’l lido afferra. and obtained the shore. Dopo notte... After night... 12 13 Heroes &Booklet Heroines 5/8/04 Booklet 2 :33(Newpm Times)Page 145/5/05 9:03 Page 4

FROM HERCULES (Dejanira) Official launch of ‘Heroes and Heroines’ at the 2004 Handel in Oxford Festival, bm Sinfonia (Act 2) Sarah Connolly madeheld with possible the generous through thesupport generous of Heroes and Heroines supportThe Zvi ofMeitar The ZviFamily Meitar Fund. Family Fund. bn Recitative George Frideric Handel Recording Producer: Mark Brown Recording Engineer: Mike Hatch Dissembling, false, perfidious Hercules!HARRY CHRISTOPHERSThe sun should cease to dawn, the silver moon Recorded at St. Silas the Martyr, Did he not swear, when THEfirst heSYMPHONY woo’d my OFlove, HARMONYBe blotted AND fromINVENTION her orb, ere he prov’d false? Kentish Town, London Photography: Peter Warren. www.peterwarren.co.uk Vocal Consultant: Gerald Martin Moore Costume Design: Sue Blane Air Cease, ruler of the day Hair Stylist: Charlotte Murray Makeup Artist: Daniel Sandler Cease, ruler of the day, to rise, To your bright beams he made appeal, Computer setting and printing of music: Peter Jones nor, Cynthia, gild the ev’ning skies. with endless night his falsehood seal! This recording is dedicated to the loving Design: Richard Boxall Design Associates memory of my mother, Jane Connolly. 2004 The Sixteen Productions Ltd. © 2004 The The Sixteen Sixteen Productions Productions Ltd. Ltd. bo Accompagnato Where shall I fly For further information about Where shall I fly, where hide this guilty head? Megaera fell, and black Tisiphone! The Symphony of Harmony and Invention Oh fatal error of misguided love! See the dreadful sisters rise! and The Sixteen recordings on Coro, call +44 (0) 1865 793 999 Oh, cruel Nessus, how art thou reveng’d! Their baneful presence taints the skies! or email [email protected] [email protected] Wretch that I am, by meSARAH Alcides CONNOLLY dies! AND HARRY CHRISTOPHERSSee the snaky WOULD whips LIKE they bear! www.thesixteen.com These impious hands haveTO THANK sent my ALL injur’d THOSE WHOlord MADEWhat THIS RECORDING yellings rend POSSIBLE: my tortur’d ear! untimely to the shades! LetHelen me B. be Casey mad! Hide Rodneyme from and theirSylvia hatedGalpin sight, Chain me, ye Furies, Theto yourZvi Meitar iron Family beds, Fund friendly shadesAnthony of Fryblackest night! and lash my guilty ghost withMark whips Loveday of scorpions! Alas! No restJane Connollythe guilty find N See, see, they come! Alecto with her snakes! from the pursuing furies of the mind! Photography by Peter Warren, www.peterwarren.co.uk

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