George Frederick Handel Coronation 1714 Jacobites 1715 Water Music 1717

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George Frederick Handel Coronation 1714 Jacobites 1715 Water Music 1717

24/12/2020 Agostino Steffani Henrico Leoni 1689 Overture March Set Design 1 2 George Frederick Handel Coronation 1714 1714 Te Deum The Lord is a Sun and a Shield Earl of Stamford George Frederick Handel 1685-1759 by B Denner 1726-8 William Croft 3 4 Jacobites 1715 Water Music 1717 Cam ye o’er frae France Canaletto Lord Mayor’s Procession 1746 Handel (left) and King George I on the River Thames, 17 July 1717; painting by Edouard Hamman Hornpipe 5 6 1 24/12/2020 Duchess of Bolton Duchess of Newcastle Countess Godolphin George Hamilton Earl of Orkney Lord Hornpipe and Andante of the Bedchamber Geminiani’s Sleepy Body 7 8 Handel’s Rinaldo written for Mrs Robinson Horns of 1699 and 1710 Bonanni Horn Player from Gabinetto Armonico 1723 Handel’s Harmonious Blacksmith Flute of 1710 Trumpet of 1680 Oboe of 1700 The singer Anastasia Robinson whose benefit concert in 1718 the king attended 9 10 1720 Pills to Purge the Melancholy I Hate a Fop by William Croft Sometimes I am a tapster new John Eccles A Soldier and a Sailor 11 12 2 24/12/2020 Radamisto dedicated to the King 1721 Bononcini Aria from Muzio Scevola Act 2 Margherita Durastanti for whom Handel composed the opera Quando mai from Act 2 Aria from Act 3 by Handel Aria from Crispo 13 14 1721 Thanksgiving Service 1722 funeral of Duke of Marlborough Maurice Greene by Francis Hayman The King Shall Rejoice O Clap Your Hands Together Croft Man That is Born The preacher Dr Benjamin Hoadly by William Hogarth 15 16 Floridante – dedicated to the Prince of Wales, attended by the King on 22 1723 arrival of Cuzzoni December 1722 March No 1 Ottone – Vinto E L’amor Caricature of Senesino, Cuzzoni and Berenstadt in Handel’s Flavio c 1723 by John Vanderbank Senesino who sang Floridante by Elisha Kirkall after Joseph Goupy 17 18 3 24/12/2020 1724 1725 arrival of Faustina Attilio Ariosti Vespasiano – Premera a soglio di morte Steffani’s Stabat Mater Rodelinda - Vivi Tiranno 19 20 1727 Giulio Cesare performed for George’s 67th birthday Francesca Cuzzoni Faustina Bordoni by Bartolomeo Nazari c 1734 How silently Ariosti’s Dario Voi del ciel 21 22 23 4.

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Female Soprano Roles in Handel's Operas Simple
Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca
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Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
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The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)
3. Dramatic Duet 3. 1. defInItIons, typoLogIes and methodoLogy This third chapter (at the same time also the second main part of this study) devotes itself to the dramatic duets by Handel and his Italian contemporar- ies in the period 1706–1724, with occasional excursions into earlier years all the way back to 1690 for comparative purposes, in order to see how the way some of these composers wrote duets developed up to the main period in question. As such it will concentrate on duets in the various Italian vocal dramatic genres already outlined in Chapter 1.2, but the fo- cus will be on opera duets. The reasons for this are not only that they are usually the most numerous dramatic duets in the opuses of the composers under question due to the status of opera as a genre, but also their public nature, which facilitates the investigation of context. It is also impossible to avoid certain key issues in the development of opera seria, the genre to which most of the duets examined in this chapter belong. Reference sources repeat these slightly commonplace but nonetheless true topoi on ensembles in opera of the first half of the 18th century: Reforms to the opera seria in the early 18th century (reducing the number of characters) […] made ensembles rarer in serious genres, Typologies and Methodology / 3. 1. Definitions, but they remained important in comic works and it is there that they attracted the richest and most varied treatment. During the first half of the 18th century the duet was the most common ensemble in all types of opera, typically for the main lovers in strong emotional situations.
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Giulio Cesare in Egitto (Julius Caesar in Egypt) Opera in Three Acts
Giulio Cesare in Egitto (Julius Caesar in Egypt) Opera in three acts Music by George Frideric Handel Libretto by Nicola Francesco Haym First performance: February 20, 1724, King's Theatre, London Romans Giulio Cesare, Julius Caesar (alto) Cornelia, widow of Pompey (alto) Sesto, son of Pompey and Cornelia (mezzo) Curio, Roman tribune (bass) Egyptians Cleopatra, Queen of Egypt (soprano) Tolomeo (Ptolemy), king of Egypt, brother of Cleopatra (alto) Achilla, Egyptian general (bass) Nireno, confidante of Cleopatra and Tolomeo (alto) ****************************** Program note by Martin Pearlman Giulio Cesare in Egitto (Julius Caesar in Egypt) was the only opera that Handel composed for the 1723-24 season of his Royal Academy, but it was a huge work and a masterpiece. Coming on the heels of his popular Ottone from the previous season, it cemented the 38-year-old composer's reputation as the leading opera composer in England. The production ran for an impressive thirteen performances and was then revived (with revisions) in the following season and again in 1730 and 1732. It was soon performed elsewhere in Europe and, particularly in Germany, became Handel's most popular opera. Handel had a stellar cast for the premiere, one which included several celebrated singers with whom he had worked a great deal. But it was a cast which was perhaps not the easiest to work with. The alto castrato Senesino, who sang the title role, was renowned as a brilliant singer but also had a reputation as a vain and arrogant man. He had earlier fought with Handel, who called him "a damned fool," although Handel continued to write great roles for him until their final falling out in 1733.
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Handel Program
BARD BAROQUE ENSEMBLE Renée Anne Louprette, director GRADUATE VOCAL ARTS PROGRAM Stephanie Blythe, artistic director Kayo Iwama, associate director HANDEL ARIA PROJECT Caesar placing Cleopatra back on the throne of Egypt – Pierre de Cortone (1596-1669) Rodelinda | Giulio Cesare | Organ Concerto Op. 4, No. 4 Friday, May 14, 2021 | 8:00 PM https://www.youtube.com/watch?v=J9W-nKdpxhA BARD BAROQUE ENSEMBLE GRADUATE VOCAL ARTS PROGRAM present HANDEL ARIA PROJECT Friday, May 14, 2021 | 8:00 PM Recorded in the László Z. Bitó Conservatory Performance Space Bard College, Annandale-on-Hudson, New York PROGRAM Works by George Frideric Handel (1685-1759) OVERTURE Organ Concerto in F major, Op. 4, No. 4 I. Allegro Mary Douglas, ’23, organist ACT I: Excerpts from Rodelinda, regina de’ Longobardi, HWV 19 Ho perduto il caro sposo Jardena Gertler-Jaffe, ’21, soprano L’empio rigor del fato Kirby Burgess, ’22, soprano Lo farò; dirò: spietato Pauline Tan, ’21, mezzo-soprano Ritorna, oh caro e dolce mio tesoro Lucy Fitz Gibbon, ‘15, soprano, VAP faculty Io t’abbraccio Jardena Gertler-Jaffe, soprano, and Micah Gleason, ’22, mezzo-soprano Fatto inferno è il mio petto… Pastorello d’un povero armento Maximillian Jansen, ’21, tenor ENTR’ACTE Trio Sonata in F major, Op. 2, No. 4 I. Larghetto II. Allegro Isabela Cruz-Vespa, ’22, flute Clare Herzog, ’22, oboe Lily Moerschel, ’22, cello Renée Anne Louprette, ’19, harpsichord ACT II: Excerpts from Giulio Cesare in Egitto, HWV 17 Vani sono i lamenti… Svegliatevi nel core Sarah Rauch, ’22, mezzo-soprano Non disperar, chi sa? Samantha Martin, ’22, soprano Cara speme, questo core Joanne Evans, ’22, mezzo-soprano Se in fiorito ameno prato Chuanyuan Liu, ’21, countertenor Laura Pérez Rangel, ’23, violin L’angue offeso mai riposa Melanie Dubil, ’22, mezzo-soprano Piangerò la sorte mia Alexis Seminario, ’22, soprano Dall’ondoso periglio… Aure, deh, per pietà Stephanie Blythe, mezzo-soprano, VAP Artistic Director FINALE Organ Concerto, Op.
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Unknown Senesino: Francesco Bernardi's Vocal Profile and Dramatic Portrayal, 1700-1740 Randall Scotting Submitted in Fulfilmen
Unknown Senesino: Francesco Bernardi’s Vocal Profile and Dramatic Portrayal, 1700-1740 Randall Scotting Submitted in fulfilment of degree requirements for the Doctor of Philosophy at the Royal College of Music, London March 2018 Abstract Francesco Bernardi (known as Senesino: 1686-1759) is recognised as one of the most prominent singers of the eighteenth century. With performing credits throughout Europe, he was viewed as a contralto castrato of incredible technical accomplishment in voice and dramatic portrayal. Yet, even considering his fame, success, and frequent and prominent scandals, Senesino has remained little-researched today. The eighteen operas newly composed by George Frideric Handel (1685-1759) for him have been the primary reference sources which define current views of Senesino’s voice.1 For example, regarding the singer’s vocal range, Winton Dean states the following based on Charles Burney’s account of Senesino: ‘His compass in Handel was narrow (g to e″ at its widest, but the g appears very rarely, and many of his parts, especially in later years, do not go above d″) [… ] Quantz’s statement that he had ‘a low mezzo-soprano voice, which seldom went higher than f ″’ probably refers to his earliest years.’2 Dean’s assessment is incomplete and provides an inaccurate sense of Senesino’s actual vocal range, which, in fact, extended beyond his cited range to g''. The upper reaches of Senesino’s voice were not only utilised in his ‘earliest years’ but throughout the entirety of his career. Operas such as Giulio Cesare, Rodelinda, and Orlando account for only a small portion of the 112 operatic works in which the singer is known to have performed during his forty years on stage.3 This thesis expands perceptions of Senesino’s vocal range and aspects of technical skill in vocal and dramatic portrayal to provide an informed sense of the singer from the time of his operatic début to his final years performing.
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HANDEL Flavio
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Download Booklet
HANDEL, Geonc FRt eoRtcn G6ls-ttsg) Duetsfrom the EnglishOratorios and Odes fromlteatHn (HWVzo): E Theselabours past from losuua (HWV64): E Ohpeerless maid 2'38 El Ourtimpid streams 2'57 from Betsu nzzAR(HWV 6r): E Greatvictor, at yourfeet I bow fromSusnruruA (HWV66): E Whenthou art nigh 3'32 E Tomy chaste Susanna's praise 3"11. fromTneoooRA(HWV68): E Tothee, thou glorious son of worth ) t) E Streamsof pteasureever flowing > )l /romSot-onoN (HWV6z): E Wetcomeas the dawn of day ) )t @ Ev'ryjoy that wisdom knows 3'27 BIS-SACD-1436 Handel 1/16/06 12:26 PM Page 3 from Eternal source of light divine (Ode for the birthday of Queen Anne, HWV 74): 11 Kind Health descends 4'38 from Saul (HWV 53): 12 O fairest of ten thousand fair 2'59 13 At persecution I can laugh 1'23 from Deborah (HWV 51): 14 Where do thy ardours raise me! 4'41 15 Smiling freedom, lovely guest 3'51 from Alexander Balus (HWV 65): 16 Hail wedded love 3'23 from Alexander’s Feast or The Power of Musick (HWV 75): 17 Let’s imitate her notes above 2'35 from Esther (HWV 50b): 18 Who calls my parting soul 3'03 TT: 70'57 Carolyn Sampson soprano Robin Blaze counter-tenor The Orchestra of the Age of Enlightment Nicholas Kraemer conductor 3 BIS-SACD-1436 Handel 1/16/06 12:26 PM Page 4 he young Lutheran organist George Frideric Handel gained experience of composing operas in Hamburg and his talent ﬂourished during a few Tyears in Italy.
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L'opera in Breve Giulio
L’opera in breve Cesare Fertonani* Giulio Cesare in Egitto è la quinta opera composta da Georg Friedrich Hän- del per la Royal Academy of Music di Londra. Il libretto di Nicola Francesco Haym, segretario della Royal Academy of Music e collaboratore di Händel per altre sue opere, è tratto dal Giulio Cesare in Egitto di Giacomo Francesco Bussani, rappresentato a Venezia nel 1677 con la musica di Antonio Sarto- rio, il cui soggetto si basa sulle vicende della campagna d’Egitto, intrapresa da Giulio Cesare nel 48-47 a. C. nel corso della guerra contro Pompeo. Fon- te del soggetto è, con ogni probabilità, Plutarco, ma se i protagonisti sono personaggi storici, i dettagli dell’azione sono in larga parte di finzione. Hän- del lavorò alla partitura dall’estate del 1723 sino all’inizio del 1724, talora in parallelo rispetto alla redazione del libretto di Haym, che, se in linea di prin- cipio segue la falsariga di quello di Bussani, al contempo se ne discosta in al- cuni particolari, valorizzando maggiormente i ruoli di Cornelia e di Sesto sino al punto di rafforzarne i ripetitivi affetti di fondo (cordoglio e sete di vendet- ta) e creando due nuove scene, che nell’opera di Händel diventano cruciali: quella in cui Cesare riflette sulla caducità della vita umana al cospetto del- l’urna con le ceneri di Pompeo (I, 7) e quella in cui egli ricompare, essendosi salvato dai sicari di Tolomeo e dai flutti del mare (III, 4). I conflitti prima tra Cesare e Pompeo, poi tra Cesare e Cleopatra da una par- te e Tolomeo dall’altra e lo stesso scontro politico e culturale tra l’Egitto e Roma sono inseriti in un contesto di dispute d’amore e intrighi di palazzo.
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Halle Festival Honors Handel
Opera con Brio, LLC September 2009 Opera con Brio Fall 2009 Richard B. Beams Halle Festival Honors Handel Lorem ipsum dolor sit amet George Frideric Handel was born in Halle an der Saale, a including two stunning festival historic and attractive city in central Germany, on February 23, premiers, Floridante and Serse. 1685. After a long and stunning career of truly international stature, he died in London on April 14, 1759; he was buried in Accompanying this ten-day Westminster Abbey on April 20. Both Halle and London musical feast was a new rightly claim allegiance to Handel – Halle, home for his first 18 permanent exhibition at the years, source of his first and only musical education; London, Handel House, completely home for most of his composing career, birthplace to most of refurbished for this anniversary his over 40 Italian operas and over 30 oratorios (among the 600 year. The expansive house, where Handel was born and some works that have survived). Handel House spent his youth, was set up as a (Photo: Horst Fechner) No wonder that in 1859 London small museum in 1948 and would honor the centenary of renovated on the occasion of Handel’s 300th birthday in 1985, Handel’s death with the famous becoming not only a memorial to Handel, but a research Handel Festival at Crystal Palace, institution and venue for musical performance as well. As the presenting the Dettingen Te Deum exhibition expanded, the focus became a chronological survey (with 2,765 singers and 460 of Handel’s life and career. The shift in the new exhibition orchestral players performing was to a thematic approach.
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Copyright by Francisca Paula Vanherle 2002
Copyright by Francisca Paula Vanherle 2002 The Treatise Committee for Francisca Paula Vanherle certifies that this is the approved version of the following treatise: CASTRATI: The History of an Extraordinary Vocal Phenomenon and a Case Study of Handel’s Opera Roles for Castrati Written for the First Royal Academy of Music (1720-1728) Committee: ____________________________________________ Nikita Storojev, Supervisor _______________________________________ Andrew dell’Antonio, Co-supervisor ________________________________________ Rose Taylor ________________________________________ David Small ________________________________________ Louis Waldman ________________________________________ David Hunter CASTRATI: The History of an Extraordinary Vocal Phenomenon and a Case Study of Handel’s Opera Roles for Castrati Written for the First Royal Academy of Music (1720-1728) by Francisca Paula Vanherle, Master in Vocal Arts Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment of the Requirements for the Degree of Doctor in Musical Arts The University of Texas at Austin December 2002 With many thanks To all members of my committee For supporting me in my research. A special thank you to Andrew Dell’Antonio And David Hunter for their Contributions and suggestions And for their patience with the proofreading. A warm thank you to Rob Deemer for helping me With the general layout. Dedicated to my parents, For their wonderful support throughout the years. On the castrato Sassarelli (Dresden): “He started the note in the softest pianissimo, as if a tiny silver bell rang. This tone grew incessantly, swelling with ever increasing intensity, prompting the listening congregation to hold their breath, their eyes anxiously directed towards the choir. This magical sound swelled and swelled until it reached an astounding volume, filling the entire church.
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Flavio: Semi-Serious in That Bible for Handel Scholars, Handel’S Operas 1704-1726, Winton Dean Describes Flavio As “An Anti-Heroic Comedy with Tragic Undertones”
Award-winning Handel on FLAVIO: SEMI-SERIOUS In that bible for Handel scholars, Handel’s Operas 1704-1726, Winton Dean describes Flavio as “an anti-heroic comedy with tragic undertones”. Unpacking that a bit, he goes on to explain that the opera has been underrated because its genre has not been recognised: “…the nearest parallel is Mozart, with whom Handel shared CHAN 0745(3) two rare gifts: an almost limitless insight into human character, and the ability to move with ease between tragic and comic situations.” ‘A must for Handelians, and anyone who In that extraordinarily rich group of operas that also set by G Partenio, A Scarlatti, and D Gabrielli, doesn’t know one of his most life-enhancing Handel wrote for performance at the King’s among others. Flavio is smitten, and thinks little masterpieces.’ Theatre in the mid 1720s, Flavio’s semi-serious of statecraft, let alone what we would now call e Sunday Times style is indeed unusual. It was preceded by two personnel management. He does not see that his strong, serious operas, now rarely performed impulsive little manoeuvre to separate Teodata (Floridante and Ottone), and it was followed (just a from her father by appointing him governor of few months later in 1724) by Giulio Cesare in Egitto, Britain gives rise to indignation in his more worthy and within a further few months by Tamerlano courtier, Lotario – indignation leading to insult, and Rodelinda – three of the greatest operas ever and setting off an entirely disproportionate chain written. Although Cesare is often performed as a of reactions, culminating in Lotario’s death, and sort of comedy, it was certainly not written his daughter Emilia’s pledge of revenge on his as one – and if Rodelinda is a darkly coloured, killer – and her lover – Guido.
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