MUZIO SCEVOLA (Atto Terzo)

Total Page:16

File Type:pdf, Size:1020Kb

Load more

Georg Friedrich Händel MUZIO SCEVOLA (atto terzo) Libretto di Paolo Rolli PERSONAGGI Re Porsenna basso Muzio Scevola contralto Clelia soprano Orazio soprano Irene contralto Fidalma soprano Tarquinio soprano Prima rappresentazione Londra, Covent Garden Theatre 15 aprile 1721 Händel: Muzio Scevola - atto terzo ATTO TERZO [Ouverture] grato farian si generoso dono. Mà s’oppone il destino a tal pensier. Scena I° Data ho ad altri la fè, dato ho gli affetti. La corte di re Porsenna, sovrano di Toscana PORSENNA Porsenna e Clelia E chi è quel felice così caro agli dèi? [Recitativo] CLELIA PORSENNA Dirlo non lice. Dopo l’arrivo degl’illustri ostaggi sicuro sì, ma non contento ho il core, PORSENNA ch’assai più periglio È pur ver ch’ogni bella d’ingannar’altri gode? la nova guerra mi riman d’amore. CLELIA CLELIA Nò, non è da Roman menzogna o frode. Sire, al tuo cenno è Clelia. PORSENNA PORSENNA All’impensato rifiuto un poco almen pensi? O valorosa amazzone del Tebro, non riconosci ancora CLELIA il congiunto primier del rè Toscano? Ho pensato! Tutto io non fo perché l’impresa ei lasci? [Aria da Capo] CLELIA Del tuo cor generoso CLELIA grand’era già, ma ben minor, la fama. Lungo pensar è dubitar, cor che lo fà Sì, ti ravviso, e col più vivo spirto amar non sà, non sà piacer, nò, nò, nò! ch’anima sen, te ne ringrazio e lodo. Un vero amor vuol sempre aver PORSENNA un solo ardor, un sol parlar, un sol pensier. (tristemente) (Clelia parte lasciando Porsenna pensieroso) Devesi all’opra il premio? Scena II° CLELIA Porsenna e poi Muzio. Mà qual premio adeguato a sì grand’opre dar si può mai? [Recitativo] PORSENNA PORSENNA Assalitor villano Eccessi di Virtù son quest’alme romane! non già, mà supplichevole e soggetto Inaspettato è il gran rifiuto. vedi un rè che sospira. E del suo amore in pegno (entra Muzio) alla tua patria libertà promette, Oh come giunge Muzio opportuno! ed amante offre a te la destra e il regno. MUZIO CLELIA Generoso monarca, Tu solo, i tuoi gran merti, e non il trono, qual porterò liete speranze a Roma? 1 Händel: Muzio Scevola - atto terzo PORSENNA d’amicizia e d’onor. Tutti vi sveno. Quanto Roma desia, tutto per te farò. Scena III° (Il re trascina Muzio da una parte) (Entra Clelia) Ma dimmi pria: poss’io svelarti un mio pensier? Poss’io [Recitativo] fede, amicizia, animo grato, aita sperar da te? CLELIA Pensoso, a passo lento, – e dove, e a chi MUZIO vai si fuor di te stesso? (impaziente) MUZIO Chiedi, se vuoi, la vita. A dirti addio! PORSENNA CLELIA Del mio cor generoso Tormentosa parola! sempre viva è verso te la brama. Nemico, egli t’apprezza; MUZIO offensor, ti perdona; amico, t’ama. Ma più: la destra in pegno Ha Clelia in seno un cor Roman? della pace ti do, pria di scoprirti il mio pensier. Libero pur rispondi. CLELIA Dell’amicizia e di tua fè sicuro, Perché? dimmi, sarò? MUZIO MUZIO Rispondi! Sull’onor mio te’l giuro. CLELIA PORSENNA Al par di te. Amo la valorosa e bella Clelia! MUZIO (Muzio rimane senza fiato, ma il re non se ne Al par di me? accorge) In amoroso dono le offersi ‘l core CLELIA ed il trono. Mà d’altro amor ferita, Sì ella il dono rigetta: amico, aita. MUZIO (Porsenna parte; Muzio rimane stordito) Ascolta, anima mia: MUZIO t’amo, e in questo sospir l’alma disciolta vien sulle labbra, a dir, che sola sei Un fulmin mi percosse! Mancami e moto e prima ed ultima sua fiamma amorosa! voce. Aita? e come? Mà generoso, Mà ciò che giova? Onor, virtù, ragione magnanimo ed amico, perdona ed sforzarmi, o cara (ahi che mi manca il core!), ama, ricompensa e priega. Ed ingrato a pregar che tu a Porsenna rivolga tutto, io sarò? E si dirà che Muzio, che tutto l‘amore. un romano, di generosità sia vinto? No! [Recitativo accompagnato] CLELIA Dunque… Soavi affetti miei, teneri affetti! Parte più viva ch’io risento in seno! vittime generose 2 Händel: Muzio Scevola - atto terzo MUZIO (parte) Ah, nol negar, se mai scintilla [Recitativo accompagnato] serbi per me d’amore. CLELIA CLELIA Io d’altro regno, che del cor di Muzio sarò Così… Regina? Io di quel solo bene per cui m’è il viver dolce, io MUZIO sarò priva? Onor, virtù, ragione? Deboli freni Così alla patria, ai trasporti d’amor: se falsi siete, si dileguino così servi all’onore. i nostri orridi spettri! e se veri, sparite a me davante! CLELIA Non vi conosco più, son troppo amante. L’affetto… [Aria da capo] MUZIO CLELIA (Ah dolce nome!) Dimmi, crudele Amore, Mi potria pervertir: tacilo, cara. qual’è il mio contento, che a così fier tormento egual tu dai? CLELIA Oh abbandonato amor, tradita fè! Misera umana sorte vien troppo di martir, E vuoi… Mà troppo di gioir, nò, non vien mai! MUZIO (parte. Rientra Muzio) Che un cor roman… [Recitativo] CLELIA MUZIO L’ho al par di te! Chi mai più giusto sdegno Mi vedrai nel ritorno, e più ingiusta d’amante aspra sventura, degli Etruschi regina, chi vide mai? Numi, superni numi, dar io stessa alla patria, perché all’umane forze, perché non deste pace e libertà. Per te, crudele, uguali un regno rinunciai, per te l’accetto. la sofferenza e i mali? Misero! e come, oh dei… MUZIO Mà si fiera perché più acerba (Entra il re Porsenna inatteso e incurante del- rendi mia cruda sorte? l’umore di Muzio) PORSENNA CLELIA Fedele amico, che rispose il mio ben? Ho un cor romano in petto. MUZIO [Aria da capo] Cedette alfine. Oggi l’Etrusco rè… MUZIO Pupille sdegnose, sareste pietose, PORSENNA se un grand affetto, aprendo il petto, …sarà contento. A te l’anima mia potesse, oh care, mostrarvi il cor! dee tutto il suo contento. A te dovrà Roma sua libertà. Tu sei il maggiore M’è forza sdegnarvi, né posso placarvi. esempio d’amicizia e di valore. Mà se mi amate, del fallo mio non incolpate se non l’onor. (Entra un paggio con lettera) 3 Händel: Muzio Scevola - atto terzo Mà qual foglio mi giunge? Oh lieta sorte! [Aria da capo] Clelia lo scrisse. MUZIO MUZIO Il confine della vita (Clelia!) Quel sarà del mio penar. Tu, chi langue senz’aita, PORSENNA Vieni, oh morte, a consolar! (legge la lettera) “Sulla riva del Tebro in men d’un’ora, Scena V° di tua figlia regal presso alla tenda te aspetto, o sire, e Muzio teco. Ei venga, Il padiglione della Principessa Irene sulle rive del testimonio fedel del nostro amore, Tevere l’atto a mirar di chi romano ha il core. Fidalma e Irene Clelia.” [Recitativo] Oh quanto già sento impaziente l’alma mia! FIDALMA Patria della bellezza e del valore (si rivolge a Muzio) è la città latina. Deh mirar quelle vergini guerriere Tu dunque lascia che Orazio a Roma torni, con sì altera modestia e porti la lieta nuova della nostra pace. ferocemente scintillar fra l’armi! Sì, resta, e d’amistà l’alterna gioia renda più cara d’Imeneo la face. IRENE [Aria da capo] Ma che ti parve pur Orazio invitto? Con quanto dolci e nobili maniere PORSENNA gl’illustri ostaggi ei presentò! Tal forza! Volate più de’ venti, momenti Marte dal quinto ciel scendea splendente, che scorrete innanzi al mio piacer. dell’alma diva agli amorosi amplessi. Mà siate lenti, lenti momenti FIDALMA che verrete seguendo il mio goder. Quanto è bel quel che piace! (Porsenna esce) IRENE Oh quanto grato al cor mi giunge il grido Scena IV° della vicina pace! [Recitativo] Gli ostaggi Orazio seguirà qual degno di sua patria orator. MUZIO Mio cor, pria ti ricorda d’esser romano; FIDALMA adempi alle leggi d’onor: pria colla patria Ma che promette usa il dover di cittadino e poi torna ai sospiri la speme adulatrice al nuovo ardore? tuoi, torna a languir. Morte il tuo ben sarà. IRENE Ah Onore! Ah Patria! Ah pace! Ah libertà! No’l sò, Mà dolcemente mi lusinga occasion, tempo, desire, amore. 4 Händel: Muzio Scevola - atto terzo [Aria da capo] [Aria da capo] FIDALMA ORAZIO Non ti fidar, Come, se ti vedrò, cara, partir potrò? perché il destre lusinga, è ver, Ahi, che tormento fier, mà parto, addio! ma poi sovente Amor è falso, e il tempo inganna! Addio, mio ben! Mà chè? Torna dov’era il piè, ah, che partir Chi vuol goder, ho inteso a dire, non sò dall’idol mio. fissa il pensier nel ben presente: chè l’avvenire ha in man la sorte [Recitativo] cieca o tiranna. IRENE (Fidalma si ritira, mentre entra Orazio) Oh, come passi al core, dolce del caro ben voce soave! Scena VI° Amorosa partenza, quanto sei tormentosa! Irene e Orazio Mà di presto ritorno con la certa speranza, il tuo tormento più raccende gli affetti [Recitativo] e raddoppia il contento. ORAZIO [Aria da capo] L’alto dovere alla mia patria solo può per brev’ora allontanarmi, oh cara, IRENE dal tuo bel volto. Con lui volate, dolci pensieri dell’alma amante, e ad uno ad uno IRENE in ogn’istante tornate a me! Ah, potess’io Seguirti! Viver, oh dèi, non sò lungi da tue Ogni momento saper vorrei dov’ è, dolci maniere e dal parlar gentile. che fà, se pensa a me, se tornerà tutto costanza e fé. ORAZIO Nella gita veloce Scena VII° e al rapido ritorno, amor con ali Riva del Tevere. Clelia con sue compagne prigio- impennerà de’ miei destrieri il corso. niere. La barca con la quale intendono fuggire è ormeggiata lungo la sponda) IRENE [Recitativo] Il mio desir di rivederti, oh caro, ti siegua e ti riprenda CLELIA d’ogni breve tardanza.
Recommended publications
  • The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)

    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.
  • Muzio Scevola: a Triptych Complete at the 2018 Handel Festival Halle

    Muzio Scevola: a Triptych Complete at the 2018 Handel Festival Halle

    12 Opera con Brio, LLC June 2018 Opera con Brio Richard B. Beams Muzio Scevola: A Triptych Complete Handel Festival Halle 2018 One of the most anticipated events of the 2018 Handel Festival in Halle was the first ever fully staged performance of the 1721 Opera-Pasticcio Muzio Scevola. It was indeed a fitting close to a Festival that had begun with the rarely performed Berenice of 1737, the last of Handel’s operas to be staged in Halle. So one could argue that only with Muzio had the Festival truly completed the staging of all Handel’s operas, since the work is sometimes listed as one of his 42 operas even though only Act III is his. Semantics aside, the occasion at the historic Goethe-Theater Bad Lauchstädt was a great success, with stunning baroque sets and costumes that helped bind together this unusual and historic three-act work, a product of not one, but three composers. Back in 1721 the newly formed Royal Academy of “valorous actions” of early Roman times, the Academy Music conceived the composition as a kind of publicity commissioned another man to compose the first act. This stunt between its musical director, Handel, and a was Filippo Amadei, an Italian friend of Handel, not celebrated Italian composer newly arrived in town, really a composer, but a cellist in the Covent Garden Giovanni Bononcini – thus initiating a 20-year rivalry orchestra. To no one’s surprise, then and now, Handel’s between the two. As a kind of prelude, necessitated by Act III – with which he evidently took a great deal of Paolo Rolli’s three-act libretto, which focused on three trouble – was by far the best.
  • The Royal Music Library and Its Handel Collection

    The Royal Music Library and Its Handel Collection

    The Royal Music Library and its Handel Collection Donald Burrows The year 2007 saw several round-figure anniversaries of events associated with Handel’s music, most obviously those of his first and last oratorios – Il trionfo del Tempo e del Disinganno (1707) and its final English version as The Triumph of Time and Truth (1757) – but also that of the first Crystal Palace Handel Festival (1857). Rather less obvious, because it does not relate so directly to Handel’s career or to performances of his music, was the anniversary of the presentation of the Royal Music Library to the Trustees of the British Museum by Queen Elizabeth II, announced on 27 November 1957. Her Majesty’s gift commemorated the two hundredth anniversary of a similar occurrence in 1757, when King George II had given the Old Royal Library to the newly-established British Museum. The Royal Music Library has one of the major collections of source material for Handel’s music, in particular because it includes ninety-six volumes of his musical autographs. There are other important items as well, but it is the autographs that render the Royal Music Library collection indispensable to scholarly work on nearly every one of Handel’s compositions: in addition to their musical content, the pages of the autographs have many details that provide striking images of the composer’s activity (see figs 1-3).1 Before the twentieth century a few favoured musicians and scholars visited the Royal Music Library at various times, and it is perhaps not surprising that the best evidence for such visits comes in connection with references to Handel’s autographs.
  • 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.
  • Handel Operas and Revisions

    ORLANDO George Frideric Handel: List of Operas and Revisions 1. Almira - Singspiel - German o Libretto by Friedrich Christian Feustking based on Giulio Pancieri o First performance at Hamburg, Theater am Gänsemarkt on 8 January 1705 2. Nero - German o Libretto by Friedrich Christian Feustking o First performance at Hamburg, Theater am Gänsemarkt on 25 February 1705 3. Rodrigo - Italian o Libretto based on 'II duello d'Amore e di Vendetta' by Francesco Silvani o First performance at Florence, Teatro di via del Cocomero on 1 November 1707 4. Florindo - German o Libretto by Hinrich Hinsch o First performance at Hamburg, Theater am Gänsemarkt on 1 January 1708 5. Daphne - German o Libretto by Hinrich Hinsch o First performance at Hamburg, Theater am Gänsemarkt on 1 January 1708 6. Agrippina - Opera seria - Italian o Libretto by Vincenzo Grimani o First performance at Venice, Teatro San Giovanni Grisostomo on 26 December 1709 7. Rinaldo - Italian o Libretto by Giacomo Rossi and Aaron Hill based on 'La Gerusalemme liberata' by Torquato Tasso o First performance at London, Queen's Theatre on 24 February 1711 8. Il pastor fido - Italian o Libretto by Giacomo Rossi based on Giovanni Battista Guarini o First performance at London, Queen's Theatre on 22 November 1712 9. Teseo - 5 acts - Italian o Libretto by Nicola Francesco Haym based on libretto for Thésée by Philippe Quinault o First performance at London, Queen's Theatre on 10 January 1713 10. Lucio Cornelio Silla - Italian o Libretto by Giacomo Rossi based on 'Life of Sulla' by Plutarch o First performance at London, Queen's Theatre on 2 June 1713 11.
  • HANDEL Flavio

    HANDEL FLAVIO Tim Mead . Rosemary Joshua . Iestyn Davies . Renata Pokupic´ Hilary Summers . Thomas Walker . Andrew Foster-Williams Early Opera Company CHANDOS early music CHRISTIAN CURNYN HANDEL FLAVIO © Lebrecht Music & Arts Photo Library George Frideric HANdel (1685–1759) FLAVIO, RE DE’ LONGOBARDI, HWV 16 (1723) Opera in Three Acts Libretto by Nicola Haym afterIl Flavio Cuniberto by Matteo Noris Performing edition prepared by Peter Jones Personaggi Flavio, Re de’ Longobardi ..............................................................................Tim Mead counter-tenor Guido, figlio d’Ugone ............................................................................. Iestyn Davies counter-tenor Emilia, figlia di Lotario ............................................................................ Rosemary Joshua soprano Teodata, figlia d’Ugone ............................................................................Hilary Summers contralto Vitige, amante di Teodata ..............................................................Renata Pokupić mezzo-soprano Ugone, consigliere di Flavio .............................................................................Thomas Walker tenor Lotario, consigliere di Flavio ...................................... Andrew Foster-Williams bass-baritone Early Opera Company Christian Curnyn 5 COMPACT DISC ONE Time Page 1 1 Overture 4:22 p. 76 Act I Scene I 2 2 Recitativo. Vitige. ‘Fra i ciechi orror’ notturni’ 0:42 p. 76 with Teodata 3 3 Duetto. Vitige and Teodata. ‘Ricordati, mio ben’ 4:29 p. 77 Scene II 4 4 Sinfonia 0:21 p. 78 5 5 Recitativo. Ugone. ‘Lotario, al sacro nodo’ – p. 78 with Lotario, Guido, Teodata Scene III Recitativo. Emilia. ‘Con l’alma reverente’ 1:46 p. 79 with Guido, Ugone, Lotario, Teodata 6 6 Aria. Emilia. ‘Quanto dolci, quanto care’ 3:48 p. 81 Scene IV 7 7 Recitativo. Guido. ‘Son pur felice al fine’ 0:25 p. 82 8 8 Aria. Guido. ‘Bel contento già gode quest’alma’ 5:27 p. 82 6 Time Page Scene V 9 9 Recitativo. Ugone. ‘O dell’Italo soglio, eccelso nume’ 1:35 p.
  • Handel's Orientalist Operas the Royal Academy Of

    Handel's Orientalist Operas the Royal Academy Of

    Journal of Interdisciplinary History, xxxvi:3 (Winter, 2006), 419–443. HANDEL’S ORIENTALIST OPERAS Ellen T. Harris With Eyes on the East and Ears in the West: Handel’s Orientalist Operas The Royal Academy of Music, established in 1719 for the production of Italian opera on the London stage, operated as a full-ºedged business enterprise. Supported by venture capital and created on the model of a joint- stock company, the Academy was managed by a board of directors personally invested in the enterprise. Surprisingly, however, there has been no serious examination of the potential impact of the di- rectors’ ªnancial goals on their artistic management of the opera. Although the effect of individual directors is not easily dis- cernible, board inºuence in general might be revealed in an un- usual artistic feature of the Academy. Throughout the course of its existence (1719–1728), the Academy produced a large proportion of operas with librettos set in the Orient, particularly in its later years when it was suffering successive losing seasons. The direc- tors’ willingness to continue its support of the opera during this period may have been due to the Academy serving as a loss leader for their larger ªnancial investment goals and trade interests. Not only did opera itself, given the large number of ªrst-rate foreign artists attracted to work for it, provide putative value as an em- blem of England’s cultural supremacy in Europe, but also, more speciªcally, the directors’ personal connections to the East Indian trade—through investments, naval operations, or direct management—suggest that librettos with Eastern settings had value as lobbying or marketing tools to keep the image of the East in front of those who might assist them politically.
  • By January, 195+

    By January, 195+

    AO.J THE SOPRANO ROLE IN HANDEL'S OPERAS THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Ida Elizabeth Weir, B. S. E. Little Rock, Arkansas January, 195+ PREFACE The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles. Although Handel has won wide acclaim due to his oratorios, little recognition has been given to him today through his operas. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding arias are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today. At the close of Chapter II there are: a list of the operas in chronological order (Appendix I); a list of the operas in alphabetical order (Appendix II); a list of the soprano arias, recitatives and duets in alphabetical order according to each opera with corresponding role, range, volume and page number in the Chrysander Edition (HCE) (Appendix III), and a list of soprano arias, duets and recitatives in alphabetical order with corresponding opera and location (Appendix IV). A bib- liography of the available literature in books and music will be found at the end. iii TABLE OF CONTENTS Page PREFACE . * . * . i1i Chapter I. HANDEL AS AN OPERA COMPOSER. 1 Handel's Career Techniques and Styles His Operas Today II.
  • Senior Recital: Ciara Adel Hart, Soprano

    Senior Recital: Ciara Adel Hart, Soprano

    Kennesaw State University College of the Arts School of Music presents Senior Recital Ciara Adel Hart, soprano Soyoun Sheehan, piano Saturday, March 28, 2015 8:00 p.m. Music Building Recital Hall Nintieth Concert of the 2014-15 Concert Season program I. GEORGE FRIDERIC HANDEL (1685-1759) Non ti fidar from Muzio Scevola II. HENRY PURCELL (1659-1695) If music be the food of love Music for a while III. WOLFGANG AMADEUS MOZART (1756-1791) Als Luise die Briefe ihres ungetreuen Ridente la calma An Chloë IV. GIACOMO PUCCINI (1858-1924) O mio babbino caro V. REYNALDO HAHN (1875-1947) Le rossignol des lilas Si mes vers avaient des ailes GEORGES BIZET (1838-1875) Ouvre ton coeur VI. LEE HOIBY (1926-2011) The Serpent This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education. Ms. Hart studies voice with Eileen Moremen. program notes Non ti fidar | George Frideric Handel from Muzio Scevola George Frideric Handel (1685-1759) was born on February 23, 1685, in Halle, Germany. He longed to study music from an early age, but his father did not believe that music was a realistic career. With the support of his mother, he began to practice in secret. At the age of seven, he had the opportunity to play organ for the duke’s court in Weissenfels. While there, Handel met com- poser and organist Friedrich Wilhelm Zachow who invited Handel to become his pupil. Under Zachow’s guidance, Handel was able to master composing for the organ, oboe, and violin by the time he reached the age of ten.
  • A Study of the Effects of the Italian Influence on the Vocal Literature of Handel for the Purpose of Proper Interpretation

    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1967 A Study of the Effects of the Italian Influence on the ocalV Literature of Handel for the Purpose of Proper Interpretation Francis Gene DeMiero Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Music Commons Recommended Citation DeMiero, Francis Gene, "A Study of the Effects of the Italian Influence on the ocalV Literature of Handel for the Purpose of Proper Interpretation" (1967). All Master's Theses. 658. https://digitalcommons.cwu.edu/etd/658 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ,.• A STUDY OF THE EFFECTS OF THE ITALIAN INFLUENCE ON THE VOCAL LITERATURE OF HANDEL FOR THE PURPOSE OF PROPER INTERPRETATION A Covering Paper Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music by Francis Gene DeMiero July, 1967 fj('~l'.!'.Jn\1~ Tfl;Jlid s bLCC a £'Tl.l9 a'I APPROVED FOR THE GRADUATE FACULTY ________________________________ Wayne S. Hertz, COMMITTEE CHAIRMAN _________________________________ John DeMerchant _________________________________ Joseph Haruda DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in Graduate Recital FRANK DE MIERO, Tenor CHARLES W. DAVIS,
  • INDEX of HANDEL's WORKS Vocal Music

    INDEX of HANDEL's WORKS Vocal Music

    Cambridge University Press 978-1-107-01953-9 - George Frideric Handel: Collected Documents: Volume 1: 1609–1725 Compiled and Edited by Donald Burrows, Helen Coffey, John Greenacombe and Anthony Hicks Index More information INDEX OF HANDEL’SWORKS The repertory follows the Verzeichnis der Werke Georg Friedrich Händels by Bernd Baselt, as set out in Eisen and Eisen, Händel-Handbuch, i–iii, which is the source for the HWV numbers. It includes some works misattributed to Handel, or in which his contribution is uncertain. Vocal works are listed in alphabetical order, using the shortest accepted titles; variant forms of works (e.g. HWV 8a, 8b) may be referred to in the commentaries. Genres can be identified by the system of the HWV catalogue: HWV 1–45: German, Italian and English operas and Instrumental music: 1 14 theatre music. (HWV A –A pasticcio and Orchestral works, beginning with concertos. fragmentary operas are included here.) Chamber music (solos and sonatas). HWV 46–76: oratorios and works performed in Keyboard music, beginning with Suites, and music the oratorio manner, including serenades and odes. for clocks. HWV 77–177: cantatas, mainly Italian. HWV 178–201: Italian Duets and Trios. Miscellaneous works are indexed in HWV order. HWV 202–28: Arias and songs, in German and English. HWV 229–86: Church music. Vocal Music Amarilli vezzosa (Il duello amoroso/ Daliso ed Amarilli, HWV 82) 151, 161 178 221 A mirarvi io son intento (HWV ) Aminta e Fillide – see Arresta il passo 72 146–8 Aci, Galatea e Polifemo (Sorge il dì, HWV ) , Amor gioje
  • Male Treble Roles in Handel's Operas

    Male Treble Roles in Handel's Operas

    Male Treble Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission with assistance from countertenor Daniel Bubeck PDF of Daniel Bubeck's Dissertation: A Resource Guide to Standard Handel Opera Roles for the Countertenor (Jacobs School of Music, Indiana University) Key Character/voice type # of Arias/Ariosos/Duets/Accompagnati Singer who originated role Range Tessitura Opera, HWV (Händel-Werke-Verzeichnis) Rodrigo, HWV 5 Rodrigo/soprano Evanco/soprano Fernando/contralto 4/2/1/1 5/0/0/0 2/0/0/0 Stefano Frilli "La Valentina" Giuseppe Perini range: D4–Ab5 range: D4–A5 range: C4–C5 tessitura: F4–G5 tessitura: G4–G5 tessitura: D4–C5 Agrippina, HWV 6 Ottone/contralto Nerone/soprano Narciso/contralto 6/1/0/1 5/1/0/0 2/0/1(quartet)/0 Francesca Vanini-Boschi "Valeriano" Giuliano Albertini range: A3–D5 range: C4–A5 range: Bb3–D5 tessitura: C4–C5 tessitura: F4–F5 tessitura: C4–C5 Rinaldo, HWV 7 Rinaldo/contralto Goffredo/contralto Eustazio/contralto Mago/contralto 8/0/2/0 5/0/0/0 5/0/0/0 1/0/0/0 "Nicolini" Francesca Vanini-Boschi "Valentini" Giuseppe Cassani range: A3–F5 range: Bb3–E5 range: A3–D5 range: Bb3–C5 tessitura: D4–Eb5 tessitura: D4–D5 tessitura: C4–C5 tessitura: Bb3–Bb4 Il Pastor Fido, HWV 8 Silvio/contralto Mirtillo/soprano 4/0/0/0 5/1/1/0 "Valentini" "Valeriano" range: A3–Eb5 range: D4–A5 tessitura: C4–C5 tessitura: F4–G5 Teseo, HWV 9 Teseo/soprano Egeo/contralto Arcane/contralto 5/1/1/0 4/0/1/0 4/0/2/0 "Valeriano" "Valentini" Jane Barbier range: D4–A5 range: Bb3–D5 range: Bb3–E5 tessitura: E4–F#5 tessitura: C4–C5 tessitura: