sign in sign up
<<
Home , Alceste (Handel), Almira, Amadigi di Gaula, Angelica and Medoro, Annette Markert, Ann Hallenberg

Wagner-Festspielhaus Bayreuth

Royal house

Georg Friedrich Händel (1685-1759)

Complete Opera Index – by Georg Friederich Händel

1. – HWV 01 22. Lotario – HWV 26

2. – HWV 06 23. – HWV 27

3. – HWV 07 24. , Rè dell'Indie – HWV 28

4. – HWV 08c 25. – HWV 29

5. – HWV 09 26. , Re di Media – HWV 30

6. Lucio Cornelio – HWV 10 27. – HWV 31

7. – HWV 11 28. – HWV 32

8. – HWV 12 29. – HWV 33

9. Muzio – HWV 13 30. – HWV 34

10. Il – HWV 14 31. – HWV 35

11. , Re di Germania – HWV 15 32. – HWV 36

12. , Re de Langobardi – HWV 16 33. – HWV 37

13. in Egitto – HWV 17 34. , Regina d'Egitto – HWV 38

14. – HWV 18 35. – HWV 39

15. , Regina de' Langobardi – HWV 19 36. – HWV 40

16. – HWV 20 37. – HWV 41

17. – HWV 21 38 . – HWV 42

18. , Re di Tessaglia – HWV 22 39. The Alchymist – HWV 43

19. , Re d'Inghilterra – HWV 23 40. – HWV 44

20. , Re di Persia – HWV 24 41. Aceste – HWV 45

21. , Re di Egitto – HWV 25 42. – HWV A11 Almira, Queen of Castile – HWV 1 or: Change of luck gained with a crown

Opera in 3 Acts (Early Barock opera) Original language: german, italian

Duration ca. 3 ½ hours World premiere: 8.01.1705 (Theater am Gänsemarkt, )

Libretto by Rufinus Widl: Friedrich Christian Feustking after Giulio Pancieris L'Almira (1691)

Performer: Mozarteum-Orchester Salzburg – Leopold Hager -Cornelius Hermann, Cembalo-Jean-Pierre Faber Oebalus-Anthony Rolfe Johnson; Melia-Arleen Augér; Hyacinthus-Edith Mathis; -Cornelia Wulkopf; Zephyrus-Hanna Schwarz Recorded 1982

People: • Almira, Queen of Castile (), in love with Fernando • Edilia (Soprano), a Princess • Consalvo (), Duke of Segovia, guardian of Almira • Osman (), Conslvo‘s son • Fernando (Tenor), a founding, Secretary of Almira • Raymondo (Bass), King of Mauritania • Bellante (Soprano), Princess of Aranda • Tabarco (Bass), Fernando‘s servant

Action:

- Castilie (Valladolid), in the Medieval, anno 1109

Almira, the Queen of Castille, is instructed by her father's will to marry a son of her guardian, Consalvo, but she is in love with her secretary, Fernando, who is a commoner and therefore off limits. Osman, Consalvo's son, is having a romance with Edilia, a princess, but wants the power that would come with marrying Almira. Raymondo, a king from Mauretania, arrives in disguise with his own marriage aspirations. Bellante, another princess, is in love with Osman.

The action takes place at the palace of Almira, the Queen of Castille, in medieval Valladolid. The confused emotions and relations of the persons at her court, revolving around Almira herself as the principal figure, form the action of the opera. At the end of it all, she marries the man whom she loves.

Act I After her father's death, Almira is crowned queen and learns from Consalvo that her father's last wish was that she marry a man from this wise councillors house, namely his wayward son, the military commander Osman. This is unhappy news for Almira, whose heart belongs to her secretary Fernando, a youth of unknown origin. Although Osman is pleased at the prospect of the royal wedding he vows to remain true to his beloved Edilia. Almira misinterprets a fragmentary message which Fernando has cut on a tree trunk in the woods as a declaration of his love for Edilia, a royal princess. When Fernando pays too much attention to Edilia at a court party, Almira becomes extremely jealous. The bored Osman makes his way to a party given by Bellante, the Princess of Aranda.

Act II While Bellante, who has fallen in love with Osman, resists Consalvo's advances, Osman tries to get Fernando to put in a good word for him with Almira. Raymonda presents himself at court as the Mauretanian ambassador and woos Almira. Almira goes to Fernando to tell him of her love, but Osman turns up and challenges Fernando to a duel. Almira intervenes to steal Osman's dagger. Edilia finds the dagger in Almira's room and makes a jealous scene in front of Osman. Tabarco, Fernando's servant, opens and reads letters of the courtiers.

Act III During the ceremonies in Raymonda's honour, Fernando, Osman and Consalvo represent the three continents Europe, Africa and Asia. Tabarco represents Folly. Raymondo tries to win Edilia's hand, but she is still pining for Osman. Bellante is brusque with Consalvo and once again refuses his advances. Consalvo has Fernando locked away in the dungeon; he too has heard of his 'forbidden love' for Edilia. Tabarco delivers a farewell letter and a ruby from Fernando to Almira, who now wavers between love and jealousy. Osman tries to win back Edilia, who now is attracted to Raymondo. Almira informs Fernando that he has been sentenced to death. But when he tells of his love for her, she sets him free. When Consalvo sees the ruby, he realises that Fernando is his long-lost son. Now nothing stands in the way of marriage between Almira and Fernando. At the end Almira and Fernando, Osman and Bellante, and Raymondo and Edilia come together for a triple wedding. Agrippina – HWV 6

Opera in 3 Acts

Original language: italian

Duration ca. 3 hours

World premiere: 26.12.1709 (Venedig, Teatro San Giovanni Grisostomo)

Libretto by Friedrich Vincenzo Grimani

Performer:

Akademie f. Alte Musik Berlin - René Jacobs; Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, (Counter- Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) – Lesbo Recorded 2010

People:

• Agrippina (Soprano), wife of Emperor Claudio • Claudio (Bass), Emperor of Roma • Poppea (Soprano), Roman, later Nerone’s wife • Ottone (), Commander oft he Emperor • Nerone (Soprano), Agrippina’s Son (from 1. marriage) • Pallante (Bass), Courtier • Narciso (Alto), Courtier • Lesbo (Bass), Servant oft he Emperor • Giunone (Alto) • Court and retinue oft he Emperor, offocers, soldiers, slaves, servants, people

Action:

Act I When her husband, the Roman emperor Claudius (Claudio), is apparently drowned at sea, Agrippina plots for her son Nero (Nerone) to be his successor. In fact Claudius has been saved by Otho (Ottone) and the immminent coronation of Nero is abandoned. Otho arrives and tells Agrippina that Claudius, in gratitude, has appointed him his successor. He also tells her that he is in love with Poppea. Agrippina, aware that Claudius also loves Poppea, tells Poppea that Otho has agreed to give her to Claudius in return for the crown. She suggests to Poppea that by telling Claudius that Otho has refused Poppea access to him, the emperor will dismiss Otho from the throne.

Act II Otho claims his reward from Claudius who denounces him as a traitor. He is then vilified by Agrippina, Poppea and Nero. But Poppea begins to doubt his guilt, and eventually Otho convinces her of his innocence. Agrippina then tells Claudius that Otho is plotting against him and persuades him to appoint Nero emperor.

Act III Poppea explains to Claudius that whereas she once thought Otho had betrayed him, it was in fact Nero, whom she then reveals hiding behind a curtain in her room. Claudius dismisses his stepson, who informs his mother of Poppea's treachery. Agrippina confronts Claudius, berates him for succumbing to Poppea's influence, and claims that Otho loves Poppea, thereby forcing Claudius to summon all three. He orders Nero to marry Poppea and leaves the succession with Otho, who requests that he might forgo the crown for Poppea's hand in marriage. Claudius agrees, and blesses Poppea and Otho's marriage.

Rinaldo – HWV 7

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 23.02.1711 (Queen’s Theatre, Haymarket, London)

Libretto by after Aaron Hill- , La Gerusalemme Liberata (1574)

Performer: The - , Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna,Sirena II, Catherine Bott (Soprano) - Sirena I, (Tenor) - Un Araldo Recorded 1999

People: • Goffredo (Alto), leader of the First Crusade, 1096–99 • Almirena (Soprano), daughter of Goffredo • Rinaldo (Soprano), a nobleman of the House of Este • Eustazio (Alto), brother to Goffredo • Argante (Bass), Saracen king of Jerusalem, lover Armida’s • Armida (Soprano), Queen of Damascus, Argante's mistress, a sorceress • Mago (Alto), christian magician • A woman (Soprano) • Two Sirenes (Soprano) • A herold (Tenor) • Mermaids, spirits, fairies, officers, guards, attendants

Action:

- in and around Jerusalem, 1099, during the first crusade

ACT I The Christian army, led by Goffredo, is besieging the city of Jerusalem. If the city is taken, then the Christian warrior Rinaldo will be free to marry Goffredo's daughter Almirena. In an audience with Goffredo, Argante, the king of Jerusalem, is granted a three-day halt to hostilities. The sorceress Armida, queen of Damascus, descends from the skies and tells her lover Argante that their only hope of victory is the destruction of Rinaldo. As Rinaldo and Almirena express their love for each other, Armida snatches Almirena away. Goffredo and his brother Eustazio discover the distraught Rinaldo. Eustazio suggests seeking the help of a Christian sorcerer who lives in a cave at the foot of a mountain.

ACT II Goffredo, Eustazio and Rinaldo are wandering the seashore searching for the sorcerer when a spirit lures Rinaldo on board a ship by claiming to be sent by Almirena. In a garden of Armida's palace garden, Argante reveals his love for Almirena and offers to help her, but she repulses him. When Rinaldo arrives, Armida's initial triumph over him turns to love, but she is rejected. Armida transforms herself into the guise of Almirena, but Rinaldo again rejects her, fleeing when he discovers her trickery. Armida again disguises herself as Almirena, but this time Argante enters and inadvertently reveals his feeIings for Almirena. Armida is outraged and swears revenge.

ACT III Goffredo and Eustazio approach the mountain with Armida's palace at its summit and the sorcerer's cave at its foot. The sorcerer tells them that Almirena and Rinaldo are held by Armida, and the two warriors set off with two magic wands as protection. Armida is about to stab Almirena, but Rinaldo rushes to protect her. Goffredo and Eustazio enter and with their wands transform the enchanted garden into a desert. Armida disappears. Argante attempts to rally his generals, and he and Armida are reconciled. Battle commences, the Christians prevail and the two lovers are reunited. Argante and Armida are captured and, realizing the error of their ways, embrace the Christian faith.

Il Pastor fido – HWV 8c (The Faithful Shepherd )

Opera in 3 Acts Original language: italian Duration ca. 2 ½ hours World premiere: 22.11.1712 (Queen’s Theatre, Haymarket, London) Libretto by Giacomo Rossi after Giovanni Battista Guarini, Il pastor fido (1585) HWV 8c contains the ballet HWV 8b (Prolog).

Performer: Capella Savaria - Nicholas McGegan, Savaria Vocal Ensemble, - Miklós Spányi, Spinet -Nicholas McGegan,Cello - Cseperke Falvay, Pauk Esswood (Counter-Tenor) - Mirtillo, Katalin Farkas (Soprano) - Amarilli, Márta Lukin (Mezzo-Soprano) - Dorinda, Gábor Kálly (Tenor) - Silvio, Mária Flohr (Mezzo-Soprano) - Eurilla, József Gregor (Bass) - Tirenio, Zita Börcsök (Soprano) - Shepherdess Recorded 1994

People: • Apollo (Alto), Leader oft he muses • Erato (Soprano), Muse of music • Terpsicore (Dancer), Muse oft he dance • Mirtillo (Alto), Shepherd, in love with Amarilli (1712 Sopran, 1734 Alt) • Amarilli (Soprano), Divine nymph, secretly in love with Mirtillo • Eurilla (Soprano), Nymphe, secretly in love with Mirtillo • Silvio (Tenor), Hunter, fiance of Amarilli (1712 Alt, 1734 Tenor) • Dorinda (Alto), Shepherdess, falls in love with Silvio (Alto) • Tirenio (Bass), a blind Sage, priest of Diana • Muses, Hunter, Shepherds, Priests

Action: Act I In the countryside of Arcadia, adorned with woods and fountains, Mirtillo wanders disconsolately pondering his hopeless love for Amarilli. He remains constant in his affections for her, although she has rejected all his advances. He goes to look for her. Now Amarilli herself appears, in equal torment. She comments that the match with Silvio is unlikely to succeed, since he avoids her at every possible opportunity and is dedicated to Diana, the hunt and chastity. He is a determined enemy of love. Worse still, she has fallen in love with a young stranger of unknown parentage, Mirtillo. She must be cruel to him; otherwise she will fall foul of the law since she has been betrothed to Silvio. Yet she does love Mirtillo. As she confesses her love, Mirtillo returns and overhears. He goes to embrace her, but she again rejects him. His wooing becomes more intense, and her denials sharper. At last, she runs off. Mirtillo resolves on suicide. He is about to kill himself when Eurilla enters. She stops him, and when she learns that love causes his torment, she hopes to gain his affection. Soon, however, she discovers that it is Amarilli whom he loves; unless he wins her, he will still kill himself. Eurilla decides to pretend that she will help him to obtain Amarilli. Mirtillo goes off happily. Eurilla decides to use deceit to alienate Mirtillo from Amarilli and to win him for herself. Silvio enters singing happily of his devotion to Diana. As he talks of his 'Goddess', Dorinda enters. She is in love with Silvio, and for a while mistakes his talk for praise of her and her love. Once she is disabused, Silvio mocks her, but she continues to sing sadly of her love. Silvio renews his vow to Diana, and disdains Cupid. Act II The scene is a countryside with mountains. In the background is the entrance to a cave. Mirtillo waits alone for Eurilla. He lies down under a tree, and singing a gentle lullaby, falls asleep. Eurilla enters while he sleeps, carrying a garland of flowers with an inscription: 'Your vows are dear to me, and I await you there'. She tip-toes in, places the garland in Mirtillo's arms while he sleeps, and leaves stealthily. Mirtillo awakes and examines the mysterious gift. He soon imagines it must be from Amarilli. While he rejoices, Amarilli wanders by. She hides and observes him as he prepares for an amorous rendez- vous. Alone, Amarilli believes Mirtillo to be unfaithful. She is just overcoming her jealousy when Eurilla enters. Eurilla is only too happy to fan the jealous flames. Amarilli admits that she prefers Mirtillo to her betrothed Silvio. Eurilla leaves her in despair and informs her of the intended rendez-vous with 'another Nymph'. Silvio enters followed by Dorinda. She pursues him ever more eagerly; he disdains her ever more scornfully. He leaves to prepare his weapons for the hunt. Dorinda resolves to remain constant in her affection for Silvio. The sun, she says, remains glorious even though clouded. Mirtillo enters, led in by Eurilla. She has led him to believe that Amarilli will meet him in the cave, and that the wreath is from her as well. Mirtillo embraces Eurilla thankfully. Now Eurilla leads on Amarilli and convinces her to hide in the cave to spy on Mirtillo. She agrees reluctantly, but is unable to believe him unfaithful unless she sees it with her own eyes. She enters the cave. Mirtillo arrives and Eurilla hurries him into the cave as well. Eurilla now puts her plan into effect. She will tell the ministers of justice anonomously that the lovers are in the cave. By Arcadian law, Amarilli will be executed, and Mirtillo will be free to marry her. Act III In a great wood with a view of the Temple of Diana, Dorinda waits alone. To catch a glimpse of Silvio as he passes in the hunt, she hides in a thicket. Silvio enters with his band of hunters. Suddenly Silvio sees movement in the thicket, and supposing it to be a good omen from Diana, hurls his spear into the undergrowth. Dorinda is carried out of the thicket by the hunters, wounded. Dorinda is willing to die at the hands of her beloved, but Silvio is overcome with remorse. As he kneels to staunch Dorinda's blood, he feels a new emotion - love! They exchange vows and Dorinda is carried off. Silvio confesses the power of love and repents of his former severity. Eurilla enters celebrating the success of her machinations. Amarilli, caught in the cave with Mirtillo, has been found guilty of unchastity and condemned to execution by the axe. Silvio enters with Dorinda, who has one arm bound up. Both are rejoicing in their new found love. Eurilla puts on a face of sorrow and tells them of Amarilli's fate. This turn of affairs frees Silvio from his betrothal to Amarilli. He goes off with Dorinda to seek approval for his new love. Eurilla, her audience gone, continues to rejoice at her successful deception. Amarilli, dressed in sacrificial robes with a myrtle garland on her head, is led in by the priests on her way to death, sad to leave life without saying farewell to Mirtillo. Mirtillo rushes in to stop the ceremony. He offers to die in her place. Amarilli refuses. Each struggles to save the other. Tirenio, the high priest of Diana, comes forward from the Temple. Silvio, Dorinda and Eurilla enter at the same time. Inspired by the Goddess Diana, Tirenio stops the cruel sacrifice. Mirtillo, he announces, is of divine lineage and is the Faithful Shepherd of the prophecy. He announces an end to the human sacrifices and a double marriage between Amarilli and Mirtillo, and Dorinda and Silvio. Eurilla pleads for forgiveness. All join in praise of the inscrutable ways of heaven. Teseo – HWV 9

Opera in 5 Acts Original language: italian Duration ca. 2 ½ hours World premiere: 10.01.1713 (Queen’s Theatre, Haymarket, London) Libretto by , after Philippe Quinault, Thésée (1675)

Performer: Staatsorchester Stuttgart - Konrad Junghänel, Franko Fagioli (Counter-Tenor) - Teseo, Helene Schneiderman (Mezzo-Soprano) - , Jutta Böhnert (Soprano) - Agilea, Kai Wessel (Counter-Tenor) - Egeo, Matthias Rexroth (Counter-Tenor)- Arcane, Olga Polyakova (Soprano) - Clizia, Mark Munkittrick (Bariton) - Sacerdos di Minerva (Priester der Minerva) Recorded 2009

People: • Teseo (Soprano) • Agilea (Soprano), Princess, his mistress • Egeo (Alto), King of Athen • Medea (Soprano), his fiance • Clizia (Soprano), Mistress of Arcane • Arcane (Alto), a vassal of the King • Minister of Minerva, (Bass) originally Soprano • Fedra (Soprano), Medea companion • Göttin Athene (mute) • Court, warriors, guards, people

Action: Act I The opera begins with a "warlike symphony" and the sound of an offstage battle in which a foreign prince, Teseo, is fighting on behalf of King Egeo of Athens. (Teseo is in fact Egeo's son, who was sent away to Troezen as a child but has now returned to the Athenian court in disguise.) Agilea loves Teseo and tells her confidante, Clizia, of her fears concerning the hero's fate following his departure for battle as commander-in-chief of the Athenian armies Arcane loves Clizia, who promises him that she will soon reward him for his constancy, but her request that he find out what has become of Teseo arouses Arcane's jealousy. The outcome of the battle proves propitious to the Athenians. King Egeo, who had previously promised to marry the sorceress Medea, announces that Agilea shall become his queen instead. Left alone, Agilea in her despair, reveals her love for Teseo and declares her contempt for a royal destiny.

Act II In the palace, Medea bewails her misfortune: it is the god of love who forever robs her of her peace of mind. Egeo enters with his retinue. He tells Medea that, having long deferred the day of their marriage, he has now decided to marry her off to his son. Medea, who is well aware of the reasons for Egeo's change of heart, is unimpressed. If he will not marry her, only Teseo is worthy of her, she claims. Arcane warns the king to beware of Teseo who, decked with military glory, might well begrudge him his throne. The victorious hero prepares for an audience with his sovereign. Medea puts him on his guard: Egeo, she tells him, suspects him of treachery; she alone can pacify the king. Teseo places himself in the hands of the sorceress who, left alone, sings of her jealousy and hatred.

Act III Arcane intends to ask the king for Clizia's hand in marriage. Agilea's servant informs her mistress of Teseo's imminent arrival. The hero enters and sings of his happiness at being reunited with his beloved. But hard on his heels comes Arcane with news of the king: Agilea and Teseo are shortly to be married. Abruptly Medea bursts in and threatens the young woman, muttering incantations and transforming the stage into a terrible wilderness peopled only by ferocious monsters which proceed to abduct Agilea.

Act IV Arcane informs the king of Medea's magic spells. Egeo swears vengeance. Medea entreats the young woman to marry Egeo, but Agilea would rather die than renounce her love. The sorceress then conjures up the sleeping form of Teseo, who enters escorted by ghosts. Medea prefers to condemn the hero to death rather than see him marry her rival. Agilea relents; she will marry the king in order to spare her lover's life. Medea dismisses her infernal hordes and transforms the stage into an enchanted isle. At a wave of her magic wand, Teseo hears the voice of Agilea telling him that she no longer loves him. But her tears contradict her words. Medea reappears: she has been moved to pity by the touching spectacle of Teseo's love for Agilea and now decides to put nothing in the way of the happiness of the man she still loves. Teseo and Agilea sing of their bliss together.

Act V Tormented by jealousy, Medea prepares for vengeance: she has decided to kill Teseo after all and hands Egeo a poisoned cup. Teseo and Agilea enter accompanied by their wedding train. Egeo invites them to forget their former quarrels and to drink to their new-found concord. Teseo draws his sword and, before raising the chalice to his lips, swears an oath of loyalty to his liege. Dumbfounded, the king recognises the sword he once gave to his son as a token in order to be able to recognise him. Egeo dashes the cup from the hero's hands and confesses the crime he was on the point of committing. Medea flees. The king seals the union of Teseo and Agilea, and of Clizia and Arcane. Medea appears, one last time, on a chariot drawn by dragons and attempts to set fire to the palace. Only the intervention of Minerva saves the assembled company from the flames. In a final chorus all sing of their new-found harmony. Lucio Cornelio Silla – HWV 10

Opera in 3 Acts Original language: italian Duration ca. 2 hours World premiere: 2.06.1713 (Queen’s Theatre, Haymarket, London) Libretto by Giacomo Rossi

Performer: The London Handel Orchestra - Denys Darlow, James Bowman (Couter-Tenor) - Silla, Simon Baker (Couter-Tenor) - Claudio, Joanne Lunn (Soprano) - Lepido, Rachel Nicholls (Soprano) - Metella, Natasha Marsh (Soprano) - Flavio, Elizabeth Cragg (Soprano) - Celia, Christopher Dixon (Bass) - Il Dio Recorded 2000, live: Concert Hall of The Royal Collage of Music

People: • Lucio Cornelio Silla (Mezzo Soprano), Roman dictator • Metella (Soprano), Silla's wife • Lepido (Soprano), tribune, Silla's friend • Flavia (Soprano), Lepido's wife • Claudio (Mezzo Soprano), Senator, Celia's lover • Celia (Soprano), Catulus' daughter (a Leutanad of Silla) • Mars (Bass), God • Scabro (mute), Minion of Silla and confidant of Metella

Action: The action is set in Rome in the period 82-79 BC. Act I Silla enters Rome in triumph after his foreign conquests and victory over his enemy Mario. Military instruments play as he passes in procession through a triumphal arch. Metella and Lepido welcome him. As a reward for his victories he demands the submission of Rome to his absolute rule, confident in his future fame. Metella and Lepido are horrified by the threat to the freedom of the Roman Republic. Metella says she would die if Rome's liberties were destroyed by her husband. Flavia, Lepido's wife, tells her husband of fearful dreams in which she has seen Rome reduced to ashes. Lepido assures her that ill omens do not always bring ruin. Flavia and Celia see a thunderbolt shatter part of the triumphal arch, confirming Flavia's fears. She begs Jupiter to grant a ray of hope. Claudio appears, holding a portrait which he is admiring. Celia assumes it is of a woman and snatches it from him. She is scornful when she finds it is a picture of the dead Mario, whom Claudio supported against Silla, since she is the daughter of one of Silla's officers. Claudio says he loves her, but Celia cannot reveal her love for him because he is Silla's enemy. Claudio promises to be faithful to her. Left alone, Celia admits she loves Claudio, but honour requires her silence. In a garden Claudio confronts Silla, accusing him of suppressing Rome's freedom. Celia intervenes, distracting Silla by asking him about her father. Silla gives her a letter from her father, which she reads. Claudio threatens to depose Silla, and Silla storms out with Celia following. Claudio resolves to oppose Silla's arrogance. Act II Claudio meets Celia, distressed at having been the object of Silla's lecherous advances. Claudio impetuously offers to be her protector, prompting her to confess that she loves him. Claudio is delighted. After he has gone, Silla returns and tries to lead Celia away, but Metella appears and warns him off. Metella praises Celia's beauty. Silla finds Flavia at home in the garden of Lepido's palace. It has a statue of Silla in token of Lepido's former support of him. Silla tries to persuade Flavia to marry him, but she remains implacable. As he tries to embrace her, the statue sinks into the ground and a cypress tree (symbol of death) rises in its place. Flavia interprets this as a warning, but Silla takes it to mean that he will find a place in the Elysian Fields. When Lepido intervenes, Silla accuses him of harbouring conspirators. He orders his soldiers to arrest Lepido and Flavia and put them in separate prisons. The couple part tenderly. Claudio and Celia are still delighting in their love when Silla and his soldiers appear. Silla gives orders for the execution of Claudio and for Celia to be confined to her apartments. He tells Metella's servant Scabro to arrange for Claudio to be fed to wild beasts, and for Lepido to be shot through with arrows. He rejoices in the thought of revenge. Metella learns of Silla's orders from Scabro and resolves to countermand them. Claudio is seen in the window of a tower overlooking the enclosure where the wild beasts are kept. He is about to be thrown to them and reflects on his fate. Scabro brings Silla a bloodstained garment, with the implication that it belongs to the executed Lepido. Silla is pleased and tells Scabro to show him Claudio being devoured by the beasts. Metella stops them, bringing news that the former followers of Mario are now rising against Silla. Silla decides to deal with the rebellion and leaves. Metella tells Scabro to release Lepido and Claudio, and to bring them to her. She implores the gods for help. Scabro returns with the two men and all leave quickly. Act III Lepido is safe in Metella's apartments. He thanks her for saving him, and wants to kill Silla to restore Rome's liberties. Metella says she cannot allow that: she must remain loyal to her husband. Scabro brings Metella a letter from Silla: it says that he is leaving Rome. Metella tells Sacbro to take Lepido to Flavia's prison cell and, as soon as Silla has gone, to help him to free her. She regrets that Silla is leaving without saying farewell to her. Lepido looks forward to being reunited with Flavia. Silla, alone, reflects on the burdens of ruling an empire. Just as he was hoping to enjoy the favours of Flavia and Celia, he has to go on a secret journey to Sicily. He decides to make one more attempt on Celia's virtue, but she again rejects him. He leaves, callously telling her that Claudio is dead. Celia is distraught. As she continues to lament her loss, she hears her words being echoed in sympathy. In fact it is Claudio supplying the echoes. He comes out of hiding, and Celia, after first thinking he is a ghost, is overjoyed. Claudio assures her of his love. In her prison Flavia resoultely awaits death. Silla appears with the bloodstained garment, warning her that she can expect to join Lepido in the underworld if she will not submit to him. When she remains defiant, he throws down the garment and leaves. Flavia returns to thoughts of death. Scabro brings in Lepido. He convinces Flavia he is not an apparition and the couple are happily reunited. Silla has reached the shore near Rome, on a moonlit night, and is preparing to sail away. Metella joins him. He is distressed to leave her and begs forgiveness for his past behaviour. The couple hope that their love will be renewed. As Metella watches, Silla's boat is wrecked by a sudden storm. Silla swims to a rock and Metella rows out in a small boat to rescue him. She brings him back to safety. In the Capitol Lepido and Claudio lead the revolt against Silla's tyranny. The god Mars appears in a cloud as Metella arrives with a repentant Silla. He asks pardon for his crimes, resigns his position and his honours, and declares he will live quietly with Metella. As his last act he gives Claudio permission to marry Celia. All praise those who put their trust in heaven. Amadigi di Gaula – HWV 11

Opera in 3 Acts

Original language: italian

Duration ca. 2 ½ hours

World premiere: 25.05.1715 (King’s Theatre, Haymarket, London)

Libretto by Giacomo Rossi after Philippe Quinault, Amadis (1684) and Antoine Houdar de la Motte, Amadis de Grèce (1699); [Knight legend from the Arthurian Legends]

Performer: - Mark Minkowski, Nathalie Stutzzmann () - Amadigi, Jannifer Smith (Soprano) - Oriana, Eiddwen Harrhy (Soprano) - , Berbarda Fink (Contralto - Dardano, Pascal Bertin (Mezzo-Sopran) - Orgando Recorded 1991

People: • Amadigi (Mezzo Soprano), a Gallic prince • Oriana (Soprano), his bride, daughter of the King of the fortunate Islands • Melissa (Soprano), a sorceress • Dardano (Alto), Prinz von Thrakien • Orgando (Soprano), Orianas Onkel • Gefährtinnen Orianas, Wachen, Soldaten, Geister, Schausteller

Action: - Britannia, in mythic al time Act I The Amadis urges his friend Dardanus to leave the enchanted abode of the sorceress Melissa with him. Dardanus is astonished that Amadis does not return Melissa's love for him. The hero replies that he is smitten by another beauty, showing him the portrait of his beloved Oriana. A horrified Dardanus recognises in the picture the woman he too adores. Concealing his rancour, he exits to inform Melissa. The sorceress herself now appears; she tries to detain Amadis by revealing her passion, then by threatening him. But Amadis will not listen. Learning that Oriana has been imprisoned in a tower surrounded by flames, he hurries off to save her. Despite the treacherous opposition of Dardanus, Amadis manages to enter the tower. Oriana is saved, but not for long; at Melissa's command she is abducted by demons. Amadis laments.

Act II In an enchanted fountain, Amadis thinks he sees Oriana caressing Dardanus. The paladin faints in a fit of despair. Oriana, led to him by Melissa, believes him dead. She seizes his sword to kill herself, but Amadis awakens and rejects her, still convinced that she is unfaithful. Melissa again tries her luck with him, but in vain. She then suggests a ruse to Dardanus: she will make him look like Amadis so that he may seduce Oriana. Dardanus reluctantly agrees - and is about to have his way with the fair one when he sees his rival coming. He rushes at him, sword in hand. Amadis kills him. A furious Melissa immediately seizes Oriana and promises her the torments of hell.

Act III Amadis and Oriana are led before Melissa in chains. Since they refuse to renounce each other, she prepares to slay them. But she has not the heart to do so. She calls the ghost of Dardanus to her aid. It emerges from the Underworld to declare that the gods protect the couple. Defeated, Melissa kills herself. The enchanter Orgando, Oriana's uncle, descends form the skies to proclaim the end of the lovers' trials and unites them.

Radamisto – HWV 12

Opera in 3 Acts Original language: italian Duration ca. 3 hours World premiere: 27.04.1720 (King’s Theatre, Haymarket, London) Libretto by Nicola Francesco Haym, after , L’Amor tirannico (1712)

Performer: The English Chamber Prchestra - , Dame - (Mezzo-Soprano) Radamisto,son of Farasmane, Malcolm King (Bass)- Farasmane,King of Thrace, Della Jones (Mezzo-Soprano) - Zenobia,Radamisto's wife, Martyn Hill (Tenor) - Tiridate,King of Armenia, Eiddwen Harrhy (Soprano) - Polissena,Tiridate's wife,Farasmene's daughter, Lynda Russel (Soprano) - Tigrane, Prince of Pontus, Patrizia Kwella (Soprano) - Fraarte, Tiridate's brother Recorded 1984

People: • Radamisto (Soprano/Mezzo Soprano), Prince of Armenia,son of Farasmane • Zenobia (Alto/Soprano), Radamisto’s wife • Tiridate (Tenor/Bass), King of Armenia • Polissena (Soprano), his wife, daughter of Farasmane • Fraarte (Soprano), Prince of Armenia, brother of Tiridate • Tigrane (Soprano), Prince of Pontus • Farasmane (Bass), King of Thrace • Soldiers, people

Action: Act I Scenes 1-3, A royal tent : Polissena, Tiridate’s wife and Radamisto’s sister, asks the gods for protection in her unhappiness. Tigrane, Tiridate’s ally, and Fraarte, one of his commanders, warn her of her husband’s infidelity; he is besieging the city in order to seize Radamisto’s wife Zenobia, for whom he has a great passion. First Fraarte then Tigrane urge her to forget Tiridate and respond to Tigrane’s love for her. Tiridate orders the city to be assaulted, and dismisses Polissena; she leaves reluctantly. Farasmane, father of Radamisto and Polissena, is brought in in chains, and is threatened by Tiridate.

Scenes 4-8. Tiridate’s camp near the city, with the river Araxes in between : Radamisto and Zenobia emerge from the city; he tries to console her with the thought that their misfortune may eventually come to an end. Tiridate threatens that Farasmane will die if Radamisto does not surrender the city; Zenobia offers herself as a sacrifice, to make peace between them. Radamisto curses Tiridate, and Farasmane is defiant: he would rather die than see Radamisto surrender. Tiridate’s army attacks the city.

Scenes 9-11. A courtyard in front of Radamisto’s palace : Tiridate enters in triumph, but Radamisto and Zenobia have escaped, and Farasmane is to remain as a hostage. Polissena objects to Tiridate’s behavior, but is told to be silent. Tigrane assures her of his love, and she can only hope for a happy outcome.

Act II Scenes 1-3. Countryside with the river Araxes running through it : Radamisto and Zenobia are escaping. She is exhausted, and asks cruel fate when her suffering will cease; she begs Radamisto to kill her so that she will not fall into Tiridate’s hands. He is reluctant, and fails to strike an effective blow, so she throws herself into the river. Tigrane and his soldiers capture Radamisto. Tigrane is sympathetic and offers to take him to Polissena. Radamisto thinks of Zenobia, whom he believes drowned, and begs her shade to rest in peace and await his coming. However Zenobia has been rescued by Fraarte; he bids her to have hope, but she calls on the Furies to destroy Tiridate.

Scenes 4-8. Part of a garden, with a view of the royal palace : Fraarte tells Tiridate of Zenobia’s rescue, and she is brought in. She resists him, but she says she will relent when she knows the extent of his love. She begs Heaven to tell her where Radamisto is. Tigrane brings Radamisto to Polissena, and promises that all will be well. Radamisto tells Polissena that she must lead him to Tiridate, so that he can kill him; she refuses, because she still loves her husband, and this makes Radamisto angry. Polissena, left alone, declares that she will defend whichever of the two men is in greater danger.

Scenes 9-11. A royal apartment : Zenobia appeals to the gods to bring her either Radamisto or death. Tigrane tells Tiridate and Zenobia that Radamisto is dead, and brings him in in disguise; Radamisto pretends to be his servant Ismeno, and relates his supposed dying words. Zenobia recognizes his voice, but Tiridate is deceived and entrusts her to the care of “Ismeno”. Radamisto and Zenobia sing of their love and constancy in a duet.

Act III Scenes 1-2. A courtyard around the royal palace : Tigrane and Fraarte agree to force Tiridate to abandon his tyrannical ways; Tigrane declares that he would risk his life for Polissena.

Scenes 3-7. A royal apartment with a closet : Zenobia is afraid that Radamisto will be discovered; he promises to be careful, and that he will never abandon her. Tiridate arrives and Radamisto conceals himself; Tiridate tries to force his attentions on Zenobia, but is prevented by the arrival of Radamisto, Polissena and Farasmane. Radamisto’s identity is accidentally revealed (by Farasmane), and he is condemned to death by Tiridate. He defies the tyrant, and Polissena pleads for his life, but she is dismissed by Tiridate; she leaves, threatening that her love will turn to hatred. Tiridate is willing to spare Radamisto, on condition that Zenobia becomes his wife; he boasts of fulfilling his hopes. Radamisto and Zenobia bid each other a sad farewell.

Scenes 8-11. A temple : Tiridate is triumphant: he will marry Zenobia in spite of her protests; but Polissena brings the news that the army and the populace have rebelled, and the temple is surrounded. In a quartet, Radamisto, Zenobia and Polissena urge Tiridate to yield “to love, to honor, to virtue,” but he refuses. Tigrane and Fraarte burst in with soldiers and a crowd of townspeople; Tiridate is forced to yield and to acknowledge his wickedness. The others forgive him and agree to restore him and Polissena to their throne; Zenobia and Radamisto celebrate in a duet, and all rejoice in a final Chorus.

Il – HWV 13

Opera in 3 Acts (Music to 1.Act: Filippo Amadei, 2.Act: Giovanni Battista Bononcini, 3.Act: G.F.Händel) Original language: italian Duration 3. Act : ca. 2 hours World premiere: 15.04.1721 (King’s Theatre, Haymarket, London) Libretto by Paolo Antonio Rolli

Performer: Brewer Chamber Orchestra - Rudolph Palmer, Harpsichord - Edward Brewer D'Anna Fortunato (Mezzo-Soprano) - Muzio, (Soprano) - Clelia, John Ostendorf (Bass-Bariton) - Porsenna, Erie Mills (Soprano) - Orazio, Frederick Urrey (Tenor) - Tarquinio, Jennifer Lane (Mezzo-Soprano) - Irene, Andrea Matthews (Soprano) - Fidalma Recorded 1992

People: • Muzio Scevola (Mezzo Soprano), Roman • Clelia (Soprano), his mistress • Larte Porsenna (Bass), King oft he Etruscans • Irene (Alto), his daughter • Fidalma (Soprano), her familiar • Orazio (Soprano ), Leader oft he Romans • Lucio Tarquinio (Soprano castrato), last King of Rome • Etruscan and Roman soldiers, servants, dignitaries, people

Action: The action is set in Rome in the period 82-79 BC. Act I Silla enters Rome in triumph after his foreign conquests and victory over his enemy Mario. Military instruments play as he passes in procession through a triumphal arch. Metella and Lepido welcome him. As a reward for his victories he demands the submission of Rome to his absolute rule, confident in his future fame. Metella and Lepido are horrified by the threat to the freedom of the Roman Republic. Metella says she would die if Rome's liberties were destroyed by her husband. Flavia, Lepido's wife, tells her husband of fearful dreams in which she has seen Rome reduced to ashes. Lepido assures her that ill omens do not always bring ruin. Flavia and Celia see a thunderbolt shatter part of the triumphal arch, confirming Flavia's fears. She begs Jupiter to grant a ray of hope. Claudio appears, holding a portrait which he is admiring. Celia assumes it is of a woman and snatches it from him. She is scornful when she finds it is a picture of the dead Mario, whom Claudio supported against Silla, since she is the daughter of one of Silla's officers. Claudio says he loves her, but Celia cannot reveal her love for him because he is Silla's enemy. Claudio promises to be faithful to her. Left alone, Celia admits she loves Claudio, but honour requires her silence. In a garden Claudio confronts Silla, accusing him of suppressing Rome's freedom. Celia intervenes, distracting Silla by asking him about her father. Silla gives her a letter from her father, which she reads. Claudio threatens to depose Silla, and Silla storms out with Celia following. Claudio resolves to oppose Silla's arrogance. Act II Claudio meets Celia, distressed at having been the object of Silla's lecherous advances. Claudio impetuously offers to be her protector, prompting her to confess that she loves him. Claudio is delighted. After he has gone, Silla returns and tries to lead Celia away, but Metella appears and warns him off. Metella praises Celia's beauty. Silla finds Flavia at home in the garden of Lepido's palace. It has a statue of Silla in token of Lepido's former support of him. Silla tries to persuade Flavia to marry him, but she remains implacable. As he tries to embrace her, the statue sinks into the ground and a cypress tree (symbol of death) rises in its place. Flavia interprets this as a warning, but Silla takes it to mean that he will find a place in the Elysian Fields. When Lepido intervenes, Silla accuses him of harbouring conspirators. He orders his soldiers to arrest Lepido and Flavia and put them in separate prisons. The couple part tenderly. Claudio and Celia are still delighting in their love when Silla and his soldiers appear. Silla gives orders for the execution of Claudio and for Celia to be confined to her apartments. He tells Metella's servant Scabro to arrange for Claudio to be fed to wild beasts, and for Lepido to be shot through with arrows. He rejoices in the thought of revenge. Metella learns of Silla's orders from Scabro and resolves to countermand them. Claudio is seen in the window of a tower overlooking the enclosure where the wild beasts are kept. He is about to be thrown to them and reflects on his fate. Scabro brings Silla a bloodstained garment, with the implication that it belongs to the executed Lepido. Silla is pleased and tells Scabro to show him Claudio being devoured by the beasts. Metella stops them, bringing news that the former followers of Mario are now rising against Silla. Silla decides to deal with the rebellion and leaves. Metella tells Scabro to release Lepido and Claudio, and to bring them to her. She implores the gods for help. Scabro returns with the two men and all leave quickly. Act III Lepido is safe in Metella's apartments. He thanks her for saving him, and wants to kill Silla to restore Rome's liberties. Metella says she cannot allow that: she must remain loyal to her husband. Scabro brings Metella a letter from Silla: it says that he is leaving Rome. Metella tells Sacbro to take Lepido to Flavia's prison cell and, as soon as Silla has gone, to help him to free her. She regrets that Silla is leaving without saying farewell to her. Lepido looks forward to being reunited with Flavia. Silla, alone, reflects on the burdens of ruling an empire. Just as he was hoping to enjoy the favours of Flavia and Celia, he has to go on a secret journey to Sicily. He decides to make one more attempt on Celia's virtue, but she again rejects him. He leaves, callously telling her that Claudio is dead. Celia is distraught. As she continues to lament her loss, she hears her words being echoed in sympathy. In fact it is Claudio supplying the echoes. He comes out of hiding, and Celia, after first thinking he is a ghost, is overjoyed. Claudio assures her of his love. In her prison Flavia resoultely awaits death. Silla appears with the bloodstained garment, warning her that she can expect to join Lepido in the underworld if she will not submit to him. When she remains defiant, he throws down the garment and leaves. Flavia returns to thoughts of death. Scabro brings in Lepido. He convinces Flavia he is not an apparition and the couple are happily reunited. Silla has reached the shore near Rome, on a moonlit night, and is preparing to sail away. Metella joins him. He is distressed to leave her and begs forgiveness for his past behaviour. The couple hope that their love will be renewed. As Metella watches, Silla's boat is wrecked by a sudden storm. Silla swims to a rock and Metella rows out in a small boat to rescue him. She brings him back to safety. In the Capitol Lepido and Claudio lead the revolt against Silla's tyranny. The god Mars appears in a cloud as Metella arrives with a repentant Silla. He asks pardon for his crimes, resigns his position and his honours, and declares he will live quietly with Metella. As his last act he gives Claudio permission to marry Celia. All praise those who put their trust in heaven. Il Floridante – HWV 14

Opera in 3 Acts Original language: italian

Duration ca. 2 ¾ hours World premiere: 9.12.1721 (King’s Theatre, Haymarket, London)

Libretto by Paolo Antonio Rolli after Francesco Silvani , La costanza in trionfo (1696)

Performer: Capella Savaria - Nicholas McGegan, Drew Minter (Alto) - Floridante, Prinz von Thrakien, Feldherr des persischen Heeres; Mária Zádori (Soprano) - Timante, Prinz von Tyros, Gefangener unter dem Namen Glicone; István Gáti (Bariton) - Oronte, König von Persien, Coralbo, Offizier im Dienste Orontes, Annette Markert (Mezzo-Soprano) - Elmira,vermeintliche Tochter Orontes; Katalin Farkas (Soprano) - Rossane, leibliche Tochter Orontes Recorded 1991

People: • Floridante (Mezzo Soprano), Prince of Trace, Orontes’ commander • Oronte (Bass), King of Persia • Rossane (Soprano), his daughter • Elmira (Alto), Supposed daughter of Oronte • Timante (Soprankastrat), Prince of Tyre, Prisoners under the name "Glicone" • Coralbo (Bass), Persian satrap • Court, Persian officers and soldiers, guards, prisoners, slaves, servants, people

Action: Oronte, a Persian general, has killed and usurped the throne from Nino, the rightful king. After his victory, Oronte took Elisa, the surviving infant daughter of Nino and raised her as his own daughter, who had died the day of the battle. This daughter, Elmira, has been promised in marriage to Floridante, Prince of Thrace and warrior in the cause of Oronte. His other daughter, Rossane, was betrothed to Timante, Prince of Tyre, but war between Tyre and Persia put an end to the possibility of this marriage, and Timante is believed to have been lost in the battle.

Act I The opera begins happily, with Elmira and her sister Rossane going together to welcome Floridante, who has just won a naval victory over Tyre, the reward for which is the hand of his beloved Elmira. Rossane, though aware of the loss of Timante, whom she has never met, yet hopes that love will still somehow prevail and unite them. The triumphant Floridante enters and proclaims that the love of Elmira is greater than any reward he might receive for his victories. To Rossane he gives the captive Glicone (who, of course, is the disguised Timante), first praising his prowess in battle. Suddenly a Persian satrap, Coralbo, arrives, giving Floridante a letter from Oronte which orders him to renounce his command and leave the country. Rossane goes immediately to Oronte and begs him to reconsider, or at least to speak to Floridante, and the tyrant agrees, though he insists that the hero's marriage to his daughter Elmira has been cancelled because of “reasons of state". Rosanne then meets Glicone, who tells her that her beloved Timante had not only succeeded in fleeing the battle safely but before that had proclaimed his undying love for Rossane. Floridante is conducted to Oronte, who confirms his decree of banishment, remaining deaf to the hero's entreaties and then to those of Elmira. A ship, he tells Floridante, will convey him to exile. Oronte exits, leaving Floridante and Elmira to proclaim that separation will cause them both to die of longing and grief.

Act II In her apartments, Rossane tells Glicone that she fears Timante could not have survived the battle. He assures her that the prince did survive, indeed, that he is in the city, disguised and safe. As proof, Glicone gives her a portrait of Timante and departs, leaving her to rejoice when she recognizes in the portrait of Timante the face of the prisoner. Floridante, meantime, has disguised himself as a Moorish captive and is planning to escape with Elmira and the other pair of lovers. But Elmira is delayed by Oronte, who proclaims his love for her, telling her she is to be his bride. Her horror is only minimally diminished when he explains that she is not his daughter but that of the former king Nino. She condemns Oronte, saying he is more monster than king. As the prisoners prepare to escape, Oronte enters with guards and arrests the disguised Floridante, who explains that he is a mere slave, sent by Floridante to take Elmira to him. When he is dragged off in chains, Oronte presents Elmira with a choice: become his queen or die.

Act III Rossane tries to help Elmira. Even though they are not really sisters, Rossane proclaims that she and Elmira are joined by love until death. When Coralbo, the Persian satrap, discovers Elmira's true identity, he says the love of the Persian people for her family yet might make her queen. Oronte appears and tells Elmira that the Moor has died, at which news Elmira swoons with grief. Oronte has the captive Floridante dragged in and tells him, while Elmira sleeps, that he must persuade her to accept Oronte as her husband or she will die. He leaves, and when Elmira recovers, Floridante attempts to persuade her, but she rejects the idea; better that they die together. Unaware that Rossane and Timante are organizing a coup, Elmira goes to the again-imprisoned Floridante with a cup of poison which she has been told to administer to him. Instead, she prepares to drink it herself. Oronte enters and takes the cup from her hand, only to be interrupted by the arrival of Timante and Coralbo, who arrest him and proclaim Elmira Queen of Persia. Enthroned, Elmira and Floridante promise mutual fidelity and just government for all. At Rossane's pleading, Elmira (now under her real name of Elisa) pardons Oronte, while Floridante announces that Rossane and Timante will marry and go to reign in Tyre. Floridante confesses to Elmira/Elisa that he has even greater happiness as a lover than as a king, and the new queen declares a day of universal rejoicing in Persia.

Ottone, Re di Germania – HWV 15 (Otto, King of Germany)

Opera in 3 Acts Original language: italian Duration ca. 3 hours World premiere: 12.01.1723 (King’s Theatre, Haymarket, London) Libretto by Nicola Francesco Haym after Stefano Benedetto Pallavicino, Teofane (1719)

Performer: The King's Consort - Robert King, Catherine Denley (Mezzo-Soprano) - Matilda, Claron McFadden (Soprano) - Teofane, Dominique Visse (Counter Tenor) - Adalberto, James Bowman (Counter Tenor) - Ottone, Jennifer Smith (Soprano) - Gismonda, Michael George (Bass) - Emireno Recorded 1993

People: • Ottone (Mezzo Soprano), German Emperor (Otto II.) • Teofane (Soprano), his fiancée and daughter of the Byzantine Emperor Romano • Emireno (Bass), a Corsair, Teofanes brother and Basilio heir to the throne • Gismonda (Soprano), Berengar's widow • Adelberto (Alto), her son • Matilda (Alto), his fiancee and cousin of Ottones • Court, officers, soldiers, guards, servants, people

Action: Act I Prince Adelberto, thanks to his mother Gismonda’s scheming, is about to assume the throne of Italy. Ottone, king of Germany, is on his way to Rome to dispute Adelberto’s claim, but has been delayed by the pirate Emireno in a fierce battle. Ottone has been promised the hand of the Princess Teofane as the spoil of a previous victory, and she has arranged to meet him, for the first time, in Rome. But Teofane, already in Rome, has only a small portrait to tell her what Ottone looks like. Gismonda persuades Adelberto to present himself to Teofane, impersonating Ottone, and he assures his mother that Teofane will not recognise him. Gismonda expresses her delight that her plans are about to come to pass. Adelberto welcomes Teofane. She is horrified by the discrepancy between the portrait in her locket and the person she actually sees before her: she wonders why she came all this way. Adelberto quickly proposes marriage as if he were Ottone. Teofane is confused and extremely upset: when finally alone she blames the portrait for deceiving her. The real Ottone arrives, having defeated and captured the pirate Emireno. Emireno hints that he is really someone more important but refuses to tell Ottone who he actually is. Ottone sends Emireno to prison and turns his thoughts towards Teofane and his new kingdom but is interrupted by his fearsome cousin Matilda. Matilda tells Ottone of Gismonda’s scheming, of Adelberto’s designs on Teofane, and that she, Matilda, is already betrothed to Adelberto. Ottone yearns for Teofane. Matilda, alone, resolves revenge on Adelberto for breaking his word. Gismonda is now posing as Adelaide, Ottone’s mother, and is alone with Teofane. Teofane asks Gismonda questions about her supposed son, and receives answers which of course relate to Adelberto, not Ottone. Gismonda lectures Teofane that love demands more than mere duty from the heart. Teofane does not like Adelaide’s haughty manner. Adelberto presses ahead with his suit and leads Teofane to the marriage ceremony. Gismonda intrudes with the news of Ottone’s arrival in Rome, forcefully urging the reluctant Adelberto to take arms against him. Teofane, left alone and now realizing that Adelberto is an impostor, tells of her torment. In a short Sinfonia Ottone’s soldiers are represented in combat with Adelberto’s troops: Ottone captures Adelberto who remains defiant in defeat. Although Ottone has still not yet found Teofane, he ends the Act optimistically, declaring peace and goodwill to all parties and looking forward to both kingship and marriage.

Act II Adelberto meets Matilda on his way to prison and she reproaches him for wooing her when he loved Teofane. Gismonda takes Adelberto to task for losing the battle with Ottone. Matilda orders Adelberto to prison, but is secretly touched by pity for him. Adelberto asks that he should learn constancy from Matilda before he is parted from her. Matilda and Gismonda, alone together, vent their anguish over Adelberto’s fate. Matilda suggests pleading Ottone for mercy on Adelberto’s behalf. The proud Gismonda prefers death for herself and her son, but Matilda insists she will be content only with Adelberto’s freedom. When alone, Gismonda reveals that she too feels compassion. Ottone and Teofane are about to meet at last, each fairly certain that they know who the other is, when Matilda intrudes and throws herself at Ottone’s feet, pleading on behalf of Adelberto. Teofane hides and watches as Ottone, though refusing the plea for clemency, embraces Matilda in pity. Matilda is furious at Ottone, summoning thunderbolts and monsters. Teofane has completely misconstrued the previous scene and accuses Ottone of infidelity with Matilda. He retorts by accusing her of giving her hand in marriage to Adelberto. Teofane suggests that Ottone is no longer in love with her. Privately, Ottone cannot understand her reaction and wonders who has caused her to turn against him. He hopes that calm will return after the storm. Teofane, alone, asks the god of love for pity. Emireno and Adelberto have escaped from prison through an underground passage, thanks to a map sent to them by Matilda. She has also informed them that a boat awaits them. Emireno asks heaven to allow him freedom again, and vows to avenge the wrongdoings he has suffered. Emireno goes searching for the boat. Matilda and Ottone arrive separately, Matilda looking for the entrance to the tunnel and Ottone searching for Teofane. Adelberto hides at the tunnel entrance when he realizes that others are in the garden. He recognizes Ottone and then Teofane. Teofane recognizes Matilda’s voice and sees Ottone. Matilda and Ottone meet: Teofane eavesdrops. She hides in the tunnel entrance, uncomfortably, near Adelberto. Matilda dissuades Ottone from going near the tunnel entrance for fear that the escape might be foiled and her part in it discovered by Ottone. She leads him away. Emireno returns, having found the boat and some of his men. Adelberto seizes the fainting Teofane and puts her into the boat. They row away. Gismonda sees the departure and meets the returning Matilda. Together they celebrate the success of their plan, though Matilda harbours apprehension over her deceit of Ottone. Neither is aware of Teofane’s abduction. They praise the fact that night has enabled them to carry out their plans.

Act III Ottone laments Teofane’s disappearance. Gismonda taunts Ottone about the escape of Adelberto and Emireno with Teofane, even though she knows that she will be sentenced to death. Ottone is utterly desolate, and muses over his desertion and betrayal by everyone.

The boat and the three escapees have been unable to get very far due to a storm. Emireno suggests that they wait until the weather improves and says that he will stand guard over Teofane. Adelberto hopes not only that the weather will calm but that love too will brighten for him with Teofane.

Adelberto goes in search of shelter from the storm and Teofane tells Emireno that she is the daughter of Romano, King of Byzantium. Emireno goes to embrace her, because he is in fact her brother, Prince Basilio. This attempted embrace too gives her the wrong idea, for she believes he is attempting to seduce her. Adelberto returns at the most inopportune moment and makes the same presumption. Adelberto jealously attackes Emireno, but is overpowered by him and placed under guard. Emireno assures Teofane that she has nothing to fear.

Teofane reflects on her fate, and invites Emireno’s guard to kill her. Even though Ottone might be in Matilda’s arms she says she will never be unfaithful to him. She is still unaware of Emireno’s true identity and mistrustful of his motives.

Matilda tells Ottone that Teofane has been taken by Adelberto. Gismonda is exultant at her son’s deed, but Matilda turns on her, telling her that when Adelberto’s head is thrown at her feet her mood will change. Gismonda responds by reporting Matilda’s part in the escape to Ottone. He becomes even more despairing that even his closest allies and family are betraying him, but Matilda repents and vows to recapture Adelberto to wash the guilt from her heart. Threatening terrible vengeance, she sings that she does not mind if she kills him.

Suddenly Emireno arrives with Adelberto as his prisoner. Ottone orders Adelberto’s death at the hands of Emireno’s men but Matilda demands the right to stab him herself. However, Adelberto’s confession causes her to stop, and once again she takes pity on him. Gismonda seizes the dagger and tries to kill herself. Teofane arrives before Gismonda has time to commit the deed: Ottone and Teofane are finally united, and celebrate.

The last strands of the plot are unravelled as Teofane explains that Emireno is really her brother Basilio. Ottone finally realizes what has happened, Gismonda and Adelberto swear loyalty to their king, while Matilda again frees Adelberto and accepts his hand in marriage. The final chorus brings back peace: love finally vanquishes treachery.

Flavio, Re de Langobardi – HWV 16 (Flavio, King of the Langobardy)

Opera in 3 Acts

Original language: Italian

Duration ca. 2 ½ hours

World premiere: 14.05.1723 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Matteo Noris, Il Flavio Cuniberto (1682)

Performer: - , Tim Mead (Counter Tenor) - Flavio,Re de Langobardi, Iestyn Davies (Counter Tenor) - Guido,figlio d'Ugone, Rosemary (Soprano) - Emilia,figlia di Lotario, Hilary Summers (Contra Alto) - Teodata,figlia d'Ugone, Renata Pokupic (Mezzo Soprano) - Vitige,amante di Teodata, Thomas Walker (Tenor) - Ugone,consigliere di Flavio, Andrew Foster-Williams (Bass-Bariton) - Lotario, consigliere di Flavio Recorded 2010

People: • Flavio (Cunincpert) (Alto), King of the Lombards • Lotario (Bass), a counselor of the King (Bass), today Tenor • Emilia (Soprano), Tochter Lotarios • Ugone (Bass), ein Ratgeber des Königs (Tenor), später (Bass) • Guido (Mezzo Soprano), Ugones’ son • Teodata (Theodote) (Alto), Daughter of Lotarios • Vitige (Soprano), Teodata’s lover, adjutant of the King • Court, warriors, guards, servants

Action:

The setting is Lombardy. The land is ruled by King Flavio, who is also the King of . He has two counsellors, Ugone and Lotario. Ugone's son, the young knight Guido, is this very day to marry Lotario's daughter, the noble-minded Emilia. Ugone also has a daughter, the lovely Teodata. He desires her to seek a position as a lady-in-waiting at the court in order "to avoid the bitter solitude of her maiden years". Little does he know that she already has a secret lover. This is Vitige, the King's adjutant.

Act I Before the light of day betrays his presence, Vitige steals from Teodata's chamber and the lovers take farewell.

Guido's marriage to Emilia takes place in the house of the bride's father attended only by close relatives. The bride and bridegroom sing of their bliss then separate until the wedding celebration in the evening.

Ugone presents his daughter to the King and says that she wishes to enter his service. Flavio is more than willing: he is smitten by Teodata's beauty and promptly assigns her to his wife, Ernelinda.

Lotario invites the King to the wedding feast. At this point Flavio receives a letter from the Governor of England, Narsette, who, enfeebled by age, requests to be relieved of his post. Flavio's first reaction is to appoint Lotario who is still in his prime. Lotario already begins to luxuriate in anticipation of the honourable appointment. But then Flavio appoints Ugone instead, hoping in this way to rid himself of the father of his new passion and so be able to woo Teodata without interference. Lotario only knows that he has been passed over; he is seething with rage and dashes away.

Flavio rapturously tells his adjutant of Teodata's beauty. To conceal his own relationship with her, Vitige stutters that "she does not please his eye", but Flavio continues his eulogy.

Ugone stumbles towards his son: his cheek is aflame from a blow: Lotario has slapped his jealous colleague! The kinght's code of honour requires him to avenge the insult, but Ugone is too old to weild a sword. He asks his son to fight the duel in his stead, thereby casting Guido into a tragic conflict between his duty to his father and his love for Emilia to whom he has just become betrothed. He proclaims his decision to defend the honour of his own family.

Emilia arrives. She does not understand why he tries to fly from her and vows eternal constancy to him, come what may.

Act II Flavio is courting Teodata. Ugone rushes in, too distressed to speak coherently. Flavio leaves him to his daughter. Ugone now raves about the loss of the family honour. Teodata thinks that her liaison with Vitige has been discovered and tearfully confesses. Ugone sees himself as being persecuted by fate. Now his daughter, too, has been dishonoured.

Emilia's father no longer wishes to lose his daughter to the son of his hated rival and bluntly tells her that her marriage is null and void. Guido, in search of his adversary, requests Emilia to leave him alone for a while. She is willing, but...then what? Guido wishes to shatter the bonds of love.

The love-sick King orders his adjutant to bring his beloved to him. Vitige confesses his unhappy mission to her, and she tells him that her father has found out about her secret betrothal. What is to be done? The couple decide to hold the King off for a while - Vitige should pretend to solicit her love for him, and Teodata to feign willingness.

Guido challenges Lotario to a duel. The experienced warrior scoffs at the young man's foolhardiness, but he falls. Emilia finds him in a pool of blood; he names Guido as his murderer and dies. In despair, she swears vengeance.

Act III Emilia and Ugone importune the King for justice. She demands the death penalty for her father's murderer, while he pleads for his son's life. Overwhelmed by the events, Flavio asks for time to reflect and sends them away. Now Vitige enters with Teodata. The sight of her strikes Flavio speechless and he therefore entrusts Vitige with his suit which, understandably, turns out to be a somewhat half-hearted business. Flavio thereupon undertakes it himself. He calls Teodata "my queen" and promptly tries to conduct her into his bedchamber, while Vitige's heart becomes "a raging sea" of jealousy.

Emilia is in mourning - for her father and for her fugitive Guido, but then she once again vows implacable vengeance. Guido appears and hands his sword to her that she might kill him. Emilia takes it - lets it fall and leaves. Guido begs the god of love for help.

Vitige and Teodata quarrel: they jealously accuse one another of having gone too far in the hoodwinking of the King and having allowed the game to become serious. Too late they discover that Flavio has entered and overheard everything. Contritely they admit to being lovers. Flavio is crushed.

Guido enters. He begs the King to have him put to death if Emilia still hates him for his deed. Now Ugone confesses that he had incited his son to commit it in his place. Flavio now realises that the wisdom of will be required to pronounce judgement. He takes courage form the awareness of his kingly responsibilities and sends for Emilia. He tells Guido to conceal himself and listen to the proceedings. Then he tells Emilia that Guido has been executed as she had requested, and that she may see his head right there. She refuses, falls to her knees and begs to be killed, too, since without Guido her life is meaningless. Guido rushes from his hiding-place and she almost swoons with joy. In their concluding duet he begs for forgiveness and she asks for a period of mourning.

Now Flavio's "punishments" are announed: Vitige, who deceived the King, must marry the girl who does not "please his eye"; Ugone, who ordered the duel, will be banished to England - as Governor - and must acknowledge his son-in-law. Reconciled, they all thank the King in a final joyful chorus.

Giulio Cesare in Egitto – HWV 17 ( Gulio Caesar in Egypt )

Opera in 3 Acts Original language: italian

Duration ca. 3 ½ hours World premiere: 20.02.1724 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Giacomo Francesco Bussani, Giulio Cesare in Egitto (1677)

Performer: Münchener Bach-Orchester - Karl Richter, Münchener Bach-Chor, Dietrich Fischer-Dieskau (Bariton) - Giulio Cesare, Tatiana Troyanos (Mezzo Soprano) - Cleopatra, Juklia Hamari (Alto) - Cornelia, Peter Schreier(Tenor) - Sesto, Wolfgang Schöne (Bass) - Curio, Ernst Gerold Schramm (Bass) - Achilla, Franz Crass (Bass) - Tolomeo, Michael Schopper (Bass-Bariton) - Nireno Recorded 1969

People: • Giulio Cesare (Mezzo Soprano), First Roman Emperor • Cleopatra (Soprano), Queen of Egypt • Cornelia, Widow of Pompeo (Pompey) • Sesto (Sextus) (Soprano or Tenor), Son of Pompeo and Cornelia • Tolomeo (Ptolemäus) (Alto), King of Egypt and brother of Cleopatra • Achilla (Bass), Military commander and Advisor of Tolomeo • Nireno (Alto), Valet • Curio (Bass), Roman Tribune • Court, Roman, and Egyptian nobles, warriors, slaves, people, women of Cleopatra, muses

Action: The action is based on Julius Caesar’s Egyptian visit of 48-47 BC. Caesar has defeated Pompey, a rival Roman general, at Pharsalia in Greece and has pursued him to Egypt, where Cleopatra and her younger brother Ptolemy are joint sovereigns. Although the characters in the opera are based on historical figures – but with Caesar and Sextus portrayed as much younger than their counterparts in history – the details of the plot are largely fictional. Act I Caesar, accompanied by the tribune Curius, crosses the Nile and enters Egypt, where he is welcomed by the Egyptians. He agrees to an appeal from Pompey’s wife and son – Cornelia and Sextus – for a peaceful settlement of his and Pompey’s old rivalry. Achillas, an Egyptian general, arrives with a message of welcome from Ptolemy accompanied by a gift – the severed head of Pompey. Caesar sends Achillas back with a message of contempt and disgust. The grief-stricken Cornelia tries to kill herself, then faces an unwelcome proposal of marriage from Curius, who is keen to re-awaken an old relationship with her. Sextus swears to avenge his father’s murder. Cleopatra, horrified to hear of Pompey’s beheading, decides to seek an alliance with Caesar against her brother and thus become Egypt’s sole ruler. Achillas reports to Ptolemy on Caesar’s angry reaction to the grisly gift and promises to kill the Roman, thus strengthening Ptolemy’s claim to Egypt, if he can claim Cornelia as his reward. At his camp, Caesar reflects on the transitoriness of human greatness, surveying Pompey’s trophy and the urn containing the ashes of his head. Cleopatra in the guise of “Lydia”, a noble Egyptian maiden whose fortune has been stolen by Ptolemy, enters and appeals to Caesar for justice. Captivated by her beauty, he promises redress. Cornelia pays her last respects to her husband’s ashes and snatches his sword from the trophies, crying vengeance on Ptolemy, but Sextus seizes the sword from her and determines to undertake the task himself. “Lydia”, who has overheard this exchange, comes forward and, offering the services of the eunuch Nirenus as a guide, engages Cornelia and Sextus to join Cleopatra against Ptolemy. Ptolemy invites Caesar to occupy the royal apartments that have been prepared at his palace, but Caesar recognizes that he must be cautious and watchful. Achillas introduces Cornelia and Sextus to Ptolemy, whereupon Sextus challenges Ptolemy to a duel: Ptolemy orders Sextus’ arrest and consigns Cornelia to work in the garden of the seraglio. Achillas offers to secure the release of Cornelia and her son if she will consent to marry him, but she rejects the idea firmly. Cornelia and Sextus commiserate on their fate before being led off separately. Act II Cleopatra has arranged an elaborate set piece for the seduction of Caesar, who is led by Nirenus into a garden of cedars with a view of Mount Parnassus and the Palace of Virtue. The scenery opens to reveal “Lydia” on the throne of “Virtue” with the nine Muses who (as a stage orchestra) accompany her in a ravishing . The scenery closes as Caesar runs towards it, but Nirenus assures him that Lydia is awaiting him and will introduce him to Cleopatra. Cornelia, performing menial tasks in the seraglio garden, repels advances from Achillas and Ptolemy. She threatens to take her own life by throwing herself into the adjoining garden occupied by wild beasts, but is restrained by Sextus. He has come secretly, escorted by Nirenus, who now brings Ptolemy’s order that Cornelia is to be taken to the harem. Nirenus also suggests to Sextus that if he follows Cornelia he may catch Ptolemy alone and unarmed. In another garden, Cleopatra waits for Caesar. After some flirtation the pair are interrupted by Curius, who tells Caesar that he has been betrayed and that conspirators are seeking to murder him. Cleopatra reveals her true identity to Caesar and then goes out, intending to quell the uprising through her royal presence. But she returns without success and urges Caesar to make his escape. He refuses and goes to face his assailants, leaving Cleopatra pleading with the gods to preserve him and to have pity on her. In the harem Ptolemy lays aside his sword and anticipates the pleasures to come. He indicates that Cornelia is his choice. Sextus enters and is in the act of taking Ptolemy’s sword from the table when Achillas hurries in and snatches it. Achillas tells Ptolemy to prepare for war: Caesar, outnumbered by the supporters of Achillas, plunged from a balcony into the sea and is believed drowned; Cleopatra has fled to the Romans and is advancing with her men against Ptolemy. Achillas also reminds Ptolemy that Cornelia has been promised to him as his reward for killing Caesar, but he is curtly dismissed as a traitor and Ptolemy then departs, expecting a quick victory over the Romans. Sextus, now that he has no prospect of revenge, attempts to stab himself. But he is restrained by Cornelia, who restores his courage, and renews his determination for vengeance against Ptolemy.

Act III Achillas, exasperated by Ptolemy’s broken promise, leads his troops to join Cleopatra. In the ensuing battle, Ptolemy’s forces are victorious and Cleopatra is taken prisoner. She mourns for Caesar, bewails her fate, and is led away. But Caesar is not dead: he appears, having escaped by swimming to the harbour, and the waves have brought him back to shore. He has lost contact with his troops and prays for help. Arriving at the same shore, Sextus and Nirenus come across Achillas, mortally wounded, who confesses his role in the death of Pompey and in the conspiracy against Caesar. He gives Sextus a seal which conveys the authority to command his troops, and tells him of a secret passageway to Ptolemy’s palace. Caesar witnesses the scene, takes the seal from Sextus and hurries off to assemble his forces. As Cleopatra, heavily guarded, is bidding farewell to the women in her apartment, Caesar enters with his soldiers to rescue her. He drives out Ptolemy’s guards and the pair are reunited. Caesar tells Cleopatra to rally her troops, and to meet him at the harbour. In the royal hall Cornelia again defends herself against Ptolemy’s advances. She draws a dagger and is about to attack him when Sextus enters, sword in hand, and claims the right of revenge. In the ensuing duel Ptolemy is killed. Cornelia’s fears are now over. At the port of Alexandria Caesar and Cleopatra enter in triumph and Nirenus acclaims Caesar as emperor. Nirenus will be rewarded for his loyal service. Cornelia and Sextus enter, bringing news of Ptolemy’s death; Cornelia hands over to Caesar Ptolemy’s crown and sceptre. Caesar invests Cleopatra with these, and she declares herself a “tributary queen to the Emperor of Rome”. The pair declare their undying love, and everyone welcomes the return of peace to Egypt.

Tamerlano – HWV 18

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 31.10.1724 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Jacques Pradon, Tamerlano ou La Mort de Bajazet (1675)

Performer: English Baroque Soloists - , Harpsichord-John Eliot Gardiner, Derek Lee Ragin (Counter Altist) - Tamerlano, Nigel Robson (Tenor) - Bajazet, Nancy Argenta (Soprano) - Asteria, (Counter Tenor) - Andronicus, René Schirrer (Bariton) - Leon, Jane Findlay (Soprano) - Irene Recorded 1985

People: • Tamerlano (Alto), Ruler of the Tartars • Bajazet (Tenor), Sultan of the Turks and prisoner of Tamerlano’s • Asteria (Soprano), Bajazets daughter and beloved of Andronico • Andronico (Alto), Greek Prince and ally of Tamerlano’s • Irene (Soprano), Princess of Trebizond and fiancee of Tamerlano • Leone (Bass), Confidant of Andronico and Tamerlano • Zaide (mute), Asteria‘s Familiar • Wake of Tamerlano and Irene's, warriors, guards

Action: Tamerlano, Emperor of the Tartars, has defeated and taken prisoner the Turkish sultan Bajazet. Although betrothed to Irene, princess of Trebizond, Tamerlano falls in love with Asteria, Bajazet's daughter, who secretly loves and is loved by Andronico, a Greek general and ally of Bajazet.

Act I The all-powerful emperor, ignorant of where Andronico's affections really lie, asks Andronico to plead his cause with Asteria, promising him in return the hand of Irene and the restoration of Byzantine power. He also promises to free Bajazet who, in despair at his defeat, desires only death. Irene arrives at the palace still believing she is to marry Tamerlano. Andronico breaks the news of her rejection by Tamerlano but persuades her to remain at court (disguised as a lady-in-waiting to protect her identity) in order to await developments. Betrayed by Andronico's apparent treachery, Asteria pretends to accept Tamerlano's love, which horrifies Bajazet and Andronico.

Act II Asteria accepts Tamerlano's proposal, her motive being to get near the tyrant, whom she will then try to assassinate. The outrage of Bajazet and Andronico at her apparent faithlessness causes her to change her mind at the last moment. The murder attempt having failed, the furious Tamerlano swears he will have Asteria and her father killed.

Act III Asteria's disdain, however, has changed him and he renews his offer to Andronico, only to have it rejected. Andronico now proclaims his love for Asteria. Once again Tamerlano swears revenge on all of them. During a banquet, Asteria (now a slave) tries to poison Tamerlano, whose life is saved by the intervention of Irene, who then reveals herself. Asteria is condemned to death and Bajazet is driven to suicide by the imminent execution of his daughter: only thus can he escape Tamerlano's power. In an impassioned monologue Bajazet calls on the Furies to take revenge on Tamerlano, then takes his own life. But his death so moves the emperor that he decides to pardon Asteria and give her hand in marriage to Andronico. Tamerlano himself will after all honour his betrothal to Irene. Rodelinda, Regina de' Langobardi – HWV 19 ( Rodelinda, Queen of the Langobardy )

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 13.02.1725 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Pierre Corneille, Pertharite, roi des Lombards (1652)

Performer: Raglan Baroque Players - Nicholas Kraemer, Sophie Danemann (Soprano) - Rodelinda, Daniel Taylor (Counter Tenor) - Bertarido, Adrian Thompson (Tenor) - Grimoaldo, Catherine Robbin (Mezzo-Soprano) - Eduige, (Counter Tenor) - Unulfo, Christopher Purves (Bass) - Garibaldo Recorded 1998

People: • Rodelinda (Soprano Queen of the Lombards, and wife of Bertarido • Bertarido (Alto), displaced by Grimoaldo, King of the Lombards • Grimoaldo (Tenor), Duke of Benevento, fiance of Eduige • Eduige (Alto), Bertarido‘s sister • Unulfo (Alto), Lombard Edler, guides Grimoaldo’s and secret boyfriend of Bertarido • Garibaldo (Bass), Duke of Turin, opponent of Bertarido and friend Grimoaldo’s • Flavio (mute), Son of Rodelinda and Bertarido

Action: Act I The opera opens with Rodelinda’s lament for Bertarido, the husband she believes to be dead. “Ho perduto il caro sposo”, she sings, voicing the that is the central fact of her life as she sits alone and weeping in the palace. Though Rodelinda will pass through grief, misery and fury, her fidelity to Bertarido’s memory is inflexible and defines her every action until their joyous reunion. She is disturbed by the arrival of Grimoaldo, the usurper of her husband’s throne, who declares both his love and his desire to marry her. Garibaldo, his henchman, arrives, and suggests that his patron free himself of the woman he once promised to marry, Eduige, who complicates the plot by also being Bertarido’s sister. But Garibaldo – falsely, since he is a villain – protests his love to Eduige, believing she will help him attain the throne, to which she has a claim so long as Rodelinda’s son, Flavio, is still a minor. A disguised Bertarido appears at his own tomb and reads the inscription. He reflects upon the hollow splendour of man’s ambitions in a long accompanied , “Pompe vane”. Longing for Rodelinda, he sings the meltingly beautiful aria “Dove sei”, declaring that only in her presence can he find consolation for his sorrow. Unulfo appears but is unable to comfort his friend, the devastated Bertarido. They hide when they hear Rodelinda approach the tomb and give voice to her misery in the aria “Ombre, piante”, then are forced to listen to Garibaldo threaten her: either she marries Grimoaldo or Flavio will die. She agrees to the union but vows that her first request as queen will be the head of Garibaldo, the Iago-like counsellor of Grimoaldo. Her sober mournfulness now turns to something more passionate: “Morrai, sì” is a surprisingly sprightly hymn to future vengeance. But it is not enough to persuade Bertarido of her fidelity when, from a hidden place, he hears her agree to marry his enemy Grimoaldo. Immediately certain of her infidelity, he launches into the bitter “Confusa si miri”. He vows to appear to her when she is married. Act II The importunate Garibaldo is surprised at Eduige’s consent to marry him since she has lost Grimoaldo. Meanwhile Rodelinda, tormented past bearing by his , turns on Grimoaldo with a test of his own monstrosity and declares that she will marry him only if he will murder her son in front of her eyes (thus proving his absolute villainy). Unulfo urges him to refuse; Garibaldo urges him to accept. The distressed Grimoaldo hastens from the scene, leaving Garibaldo to plot his master’s downfall. Bertarido stands in “a pleasant landscape” and gives himself over to the pathetic fallacy: nature’s sounds and sights mirror his own anguish. Eduige is reunited with her brother, astonished to find Bertarido alive and elated to hear that his sole aim is to save his wife and son (and not to reclaim the kingdom). Unulfo appears and assures Bertarido that his wife is in fact faithful to him, and both his heart and his aria turn joyful in “Scacciata dal suo nido”. Unulfo then goes to Rodelinda and assures her that her husband still lives and soon will return to her: “Ritorna, o caro” gives voice to her rhapsodic joy and longing. Bertarido seeks her out in the palace and kneels to beg her forgiveness for having doubted her constancy. They are no sooner united than discovered, as Grimoaldo arrives. To save Rodelinda’s reputation, Bertarido reveals that he is her husband, but, in order to protect him, she denies this. Grimoaldo, uninterested in the man’s identity, condemns him to prison and certain death. The last the loving couple believe they will know of one another are the final moments of “Io t’abbraccio”. Act III Eduige gives Unulfo a key to rescue the imprisoned Bertarido while Garibaldo, bad to the very end, urges Grimoaldo to kill him. In a dungeon, Bertarido reflects upon his fate in “Chi di voi”, the music as restless as his spirit. His lament is interrupted by both a sword dropped down to him by Eduige and the arrival of Unulfo with the key: mistaking his friend for the executioner, Bertarido stabs and wounds him. No sooner has he realized his mistake than distant voices force them to flee. They leave behind a bloody cloak, which the arriving Rodelinda takes to be that of her husband. Certain that he is dead, she lapses into re-doubled grief in “Se ’l mio duol”, begging God to strike a dagger through her heart. Grimoaldo takes an honest look at the beast he has become, longs for a shepherd’s simple life and seeks escape in sleep. Garibaldo, discovering him, tries to kill him but is prevented by Bertarido: too noble to allow his enemy Grimoaldo to fall victim to treachery, Bertarido drives Garibaldo off and kills him. The waking Grimoaldo is confronted by his enemy’s declaration (in one of Handel’s greatest stand-and-deliver , “Vivi, tiranno”), witnessed by the entering Rodelinda, that Bertarido has spared him and saved his life. Proof of such clemency moves Grimoaldo to repentance: he gives Bertarido his wife, his son and his throne, and the royal lovers are reunited to general rejoicing. Publio Cornelio Scipione – HWV 20

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 12.03.1726 (King’s Theatre, Haymarket, London)

Libretto by Paolo Antonio Rolli after Antonio Salvi, Publio Cornelio Scipione (1704)

Performer: Wiener Symphoniker - , Sandrine Piau (Soprano) - Berenice; Vanda Tabery (Soprano) - Armira; Doris Lamprecht (Mezzo Soprano) - Lucejo; Derek Lee Ragin (Counter Tenor) - Scipione; Guy Flechter (Tenor)-Lelio; Olivier Lallouette (Bariton) - Ernando Recorded 1993 People: • Scipione (Alto), Roman General • Lucejo (Alto), Prince of the Celtiberians • Berenice (Soprano), Princess and daughter of Ernando • Lelio (Tenor), Roman General • Ernando (Bass), King of the Balearic Islands • Armira (Soprano), Berenice‘s confidante • Entourage of Scipione, soldiers, guards, servants, people

Action: Act I Scipio arrives in Carthage in triumph, having won the city in battle. He recognises the faithful service of his captain Lelio, who in turn offers Scipio the two fairest captives - Berenice and Armira. Scipio is immediately struck by Berenice's beauty, but she begs him to defend her honour, which he promises to do. Scipio passes Armira into Lelio's care. Berenice sighs for her lost betrothed Lucejo, a name instantly recognised, and respected, by Lelio. Previously Lelio had been a prisoner of Lucejo's father, the Celtiberian King, who had been granted him freedom. Lelio promises the women that they will be well cared for in the palace, but Berenice is not comforted. Lucejo, disguised as a Roman soldier, steps from the crowd. He has observed Scipio's interest in Berenice and is afraid of losing her to the conqueror. He resolves to follow her into the palace to rescue her. In a garden of the palace Scipio and Lelio discuss their love for Berenice and Armira. Scipio leaves the women in Lelio's care, and Lelio tries to comfort Armira by declaring his love for her. But Armira demands her freedom before she can love him in return. Berenice now enters the garden, and Lelio congratulates her on winning Scipio's heart. As proof of his love, Lelio tells her, Scipio has threatened death to anyone else who enters the garden. But Berenice's thoughts are only for her lost love, Lucejo, who she was due to marry on the very day Carthage fell. Left alone she laments her lost love. To her surprise, Lucejo's voice replies. She is terrified that he will be discovered, and begs him to flee and return with a conquering army to save her. Lucejo is alarmed by her demands, and suspects there is more to them. Berenice sees Scipio approaching and Lucejo hides. Scipio begins to court Berenice, but Lucejo cannot bear to stand by and watch. He steps out from his hiding place and confronts Scipio who, despite Lucejo's disguise detects his Iberian accent. Lucejo is about to reveal his identity but Berenice interrupts him and denies knowing him. Lelio appears and, recognising Lucejo immediately, concocts a story to save him. Pretending Lucejo is an insane Roman soldier called Erennius, he demands he leave immediately. Realising he has given way to his anger, and has been saved by Berenice and Lelio, Lucejo remains quiet. Scipio recommends Lelio care for the unfortunate Erennius. Left alone, Lucejo worries that Berenice's denials might have been more than pretence. He struggles with the passions of jealousy and doubt within his own heart. Act II Ernando, King of the Balearic Islands and Berenice's father, arrives to ransom her. He is met by Lucejo, who welcomes him in Scipio's name. In the palace Berenice reveals her identity as the daughter of King Ernando to Scipio. In turn he declares his love for her, but she tells him she is betrothed to Prince Lucejo of Celtiberia and can love no other. Scipio is in despair and leaves her. Lelio now enters with Lucejo. Berenice, frightened for her lover's safety, demands that he leave immediately. Lucejo's fears are confirmed and he scorns Berenice, threatening to kill himself in a jealous rage. Berenice asks Lelio to follow him and protect him from himself. Alone again, she bemoans her fate. Lelio once more importunes Armira, but again she rejects his advances until he sets her free. Alone, she confesses that she will continue to encourage, though thwart, Lelio's affection to play for time until her plight can become known to her father Indibile. Lucejo returns in search of Berenice. Armira tells him that Berenice is loved by Scipio, and Lucejo re-asserts his love for her. Armira promises her silence and offers her hand as proof, which Lucejo takes. Berenice has overheard the end of this conversation and misconstrues the situation. She confronts Armira and charges her with inconstancy, and the offended Armira leaves. Jealous herself now, Berenice tells Lucejo to leave her once again. But Scipio now enters and Lucejo reveals his true identity. He challenges Scipio as a rival lover rather than a conquering general, but Lelio enters with soldiers and arrests Lucejo. Scipio promises Berenice that Lucejo's life will be spared, but that she must resign herself to marry a Roman more worthy of her. She refuses, and once more declares her devotion to Lucejo. Act III Ernando is granted an audience with Scipio, who tells him that he has fallen in love with his daughter Berenice. He asks Ernando for his permission to marry her. But Ernando too is steadfast in his support of Lucejo, whose marriage to Berenice he has pledged, and refuses Scipio's request. He tells Scipio that his honour is his most important possesion and he cannot give it up. Scipio struggles with his desire for Berenice, who his power can easily command, but instead he choses the path of virtue to protect his reputation. Lelio tells Lucejo that he is to be taken to Rome as a prisoner. Lucejo begs for death rather than banishment, and Berenice begs to be sent to Rome with him. Scipio overhears her plea and promises her happiness. In the throne room, Ernando presents Scipio with the ransom for his daughter, and the conqueror duly returns her to her father. But Scipio notices that Berence is still not entirely happy, and encourages her to be hopeful. Elsewhere in the palace, Lelio has discovered that Armira is the daughter of Indibile, a friend to the Romans, and releases her. She finally admits her love for him. Berenice has been summoned by Scipio, and on her way back to the throne room she meets Lucejo. He has been released by Lelio, given back his sword, and also summoned to Scipio's presence. The two proclaim their undying love for each other, and Lucejo overcomes his jealousy. All our assembled in the throne room. Scipio hands Berenice to Lucejo, and asks only for his friendship and support of Rome in return. Next, Scipio passes the ransom paid by Ernando to Berenice as her dowry. All rejoice in Scipio's clemency, and praise the selfless conqueror. Alessandro – HWV 21

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 5.05.1726 (King’s Theatre, Haymarket, London)

Libretto by Paolo Antonio Rolli after Ortensio Mauro, La superbia d’Alessandro (1690)

Performer: - Sigiswald Kuijken, René Jacobs (Counter Tenor) – Alessandro, Sophie Boulin (Soprano) – Rossane, Isabelle Poulenard (Soprano) – Lisaura, Jean Nirouët – Tassile, Stephen Varcoe (Bariton) – Clito, Guy de Mey (Tenor) – Leonato, Ria Bollen (Contralto) – Cleone; Recorded 1990

People: • Alessandro (Mezzo Soprano), King of Macedon • Rossane (Soprano), a Persian Princess • Lisaura (Soprano), a Scythian Princess • Tassile (Alto), a King in India • Clito (Bass), Macedonian Duke • Cleone (Alto), Macedonian Duke • Leonato (Tenor), Macedonian Duke

Action:

Act I During his triumphal Asian campaign, Alexander the Great suddenly finds himself in dire danger in the city of Sidrach, which he is the first enemy general ever to invade; he is rescued by his supporters, the most prominent of which is the general Cletus, a Macedonian prince.

Back at Alexander's camp two women fear for the hero's life: Lisaura, a princess of Scythia, and the Persian princess Roxana, who is Alexander's prisoner. They are rivals: both of them love Alexander and are plagued by jealousy, for Alexander, who is affectionate to both of them, does not yet seem to have made up his mind as to which of the two he will choose. The Indian king, Taxiles, who owes Alexander both his throne and his life, reports that Alexander has escaped the danger unharmed. Both of the princesses are overjoyed at this news, much to Taxiles's dismay, for he is in love with the princess Lisaura.

Alexander's fame as an invicible world conqueror has gone to his head. He allows himself to be worshipped in Jupiter's temple as the son of the divine father. The only one who dares stand up to him is the upright Cletus; but at the entreaties of all the others, Alexander is appeased.

Act II Alexander is still incapable of choosing between the two princesses, who pursue him with their love. Whenever he meets one of them, he seems to nourish her hopes, but the two see through him. Roxana, his beautiful Persian captive, reminds him of his fame and his generosity, and begs him to grant her her freedom. Perhaps she can win him in this way. Alexander fears that he will lose Roxana and only consents with misgivings to her freedom.

General Leonatus and his friends are appalled at Alexander's inordinate arrogance. They resolve to remove the tyrant.

In his quarters, Alexander announces to his assembled generals that he intends to divide all of the conquered territories among them. He, the son of Jupiter, is content with his own immortal glory. Once again, the courageous Cletus confronts Alexander. He vehemently disputes the divine origins of the megalomaniac. Enraged, Alexander is on the verge of killing Cletus with his spear, when suddenly, at a pre-arranged sign of the conspirators, the house caves in. No one is injured, including Alexander, who is convinced that his father Jupiter - divine providence! - has saved him from a certain death. He orders the flatterer Cleon to lead Cletus off to captivity.

Roxana has learned of the attempt on Alexander's life. In despair, she weeps for her lover, whom she presumes dead. Alexander overhears her mourning and is deeply moved; he realises how much she loves him and makes up his mind for her. The conspirator Leonatus rushes in breathless, purporting to have learned that the vanquished peoples are staging an uprising. Alexander wants to return to his army and is forced to leave Roxana behind in a state of renewed uncertainty.

Act III Leonatus succeeds in freeing the honourable Cletus and imprisoning this jailer Cleon; however, the latter is once again liberated by his followers. The conspirators now intend to defeat Alexander in open battle, with the help of Macedonians who are loyal to them.

Alexander has yet another interview with Lisaura. By means of flattery, and no lack of ingenuity, he explains to her that he must renounce her love to clear the way for the Indian king Taxiles, his dearest friend, who is himself enamoured of the Scythian princess. Taxiles is delighted at Alexander's decision.

In the meanwhile, the conspirators have assembled their forces for battle. Taxiles, with his troops, supports Alexander, and the conspirators are defeated. They all plead with the great Alexander for mercy, which is magnanimously granted.

Admeto, Re di Tessaglia – HWV 22 ( Admeto, King of Thessaly )

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 31.01.1727 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Aurelio Aureli, L’Antigona delusa da (1660)

Performer: Festspiel Orchester Göttingen - Nicholas McGegan, Cembalo/Harpsichord - Nicholas McGegan, Tim Mead (Counter-Tenor)- Admeto, Marie Arnet (Soprano) - Alkestis, William Berger (Bariton) - Ercole (), Andrew Radley (Counter-Tenor) - Orindo, David Bates (Counter-Tenor) - Trasimede, Kirsten Blaise (Soprano) - Antigona, Wolf Matthias Friedrich (Bass) - Meraspe Recorded 2009

People: • Admeto (Mezzo Soprano), King of Thessaly • Alceste (Soprano), his wife • Antigona (Soprano), his former fiancee, Trojan Princess, dressed as Shepherdess • Trasimede (Alto), Prince, brother of Admeto • Ercole (Herakles, Herkules) (Bass) • Orindo (Alto), a courtier,confidant of Admeto • Meraspe (Bass), Antigona‘s educator • Priest, heralds, Warrior, ghosts, people

Action: Act I Admeto lies mortally ill in his palace, haunted by terryfing dreams. Orindo tells him his brother Trasimede is equally distraught, raving over a woman's portrait. Ercole, on a visit to his friend Admeto, claims that his mighty deeds are motivated solely by a search for glory. Alceste prays to Apollo to relieve their agony; the god's statue replies that only the death of a close relative can save Admeto's life. As he sleeps she resolves to die for him. In a neighbouring wood Antigona and her tutor Meraspe, refugees from Troy (sacked by Ercole), are living disguised as shepherds. Antigona, who was betrothed to Admeto before his marriage to Alceste, blames his illness on the gods' anger for his broken vow. She sends Meraspe, posing as her father, to the palace. The palace garden. Alceste, holding a dagger, tells her weeping handmaidens not to bewail her voluntary sacrifice. (The backflats then conceal them). Admeto enters with Ercole, rejoicing in his recovered health. Cries of woe are heard within; the backflats open to reveal Alceste dead. Admeto begs Ercole, who once rescued from hell, to perform the like service for Alceste. Ercole agrees, leaving Admeto to ponder the delusions fostered by hope. In the wood Meraspe informs Antigona of Admeto's recovery and Alceste's death. They rejoice that Antigona can now marry Admeto, but retire when a hunting party approaches, led by Trasimede, who carries a portrait (of Antigona) and dotes on it. She astonishes him by denying her identity; she is Rosilda, and Fidalbo (Meraspe) is her father. Trasimede invites her to the palace, offering her a job as a gardener. Antigona looks forward to showing Admeto the error of his ways. Act II Alceste is in , chained to a rock and tormented by Furies. Ercole throws into an abyss, beats and drives out the Furies, and releases Alceste. She looks forward eagerly to Admeto's welcome. The palace garden. Antigona rejects an amourous advance from Orindo. Trasimede enters and, preferring the substance to the shadow, throws down her portrait; Orindo picks it up. Antigona, resolved to have Admeto or nobody, rejects Trasimede too. Orindo gives Admeto Antigona's portrait; he says it cannot represent her, since Trasimede, when sent to Troy to negotiate the marriage, brought back a different portrait. When 'Rosilda' enters, he is astonished by the resemblance between the portrait and his new gardener. She says she saw Trasimede doting on the portrait and lamenting Antigona's death. He realises that Trasimede must have fobbed him off with a portrait of someone else. Trasimede overhears this and reolves to have the portrait stolen. When 'Rosilda' asks Admeto whether he would marry Antigona if she were still alive he says he does not know and departs abruptly, leaving her a prey to fears. A wood. Alceste, in male disguise as a soldier, and anxious to know whether Admeto has taken another love in her absence, sends Ercole ahead to say that he could not find her in Hades. She is consumed by jealousy. Admeto, depressed by the thought of loving two women, both of them dead, resolves to die himself. Trasimede, who has abducted 'Rosilda' because of her resemblance to Antigona, is persuaded to release her. A page brings him a portrait, which he recognises as one of Admeto and orders it to be returned to the palace. The page drops it by mistake, and Antigona is delighted to pick it up. The disguised Alceste sees her kissing it and assumes the worst. She asks Antigona, who admits to loving Admeto, whether she has any hope of her love being returned. Antigona cannot answer. Alceste begins cursing Admeto, but checks herself; until she learns the truth she will be true to her duty. Act III A courtyard. Meraspe informs Admeto os 'Rosilda's' arrest, revealing her true identity and her hopes of marrying the widowed king (he does not know that Trasimede has since released her). Orindo reports that Ercole has returned from Hades alone, and is sent to find Antigona and her abductors. Meraspe assures Admeto of Antigona's love and fidelity. Admeto is torn between longing for the dead Alceste and sympathy for the kidnapped Antigona. When Ercole tells him that Alceste must be in Elysium since he could not find her in Hades, he concludes that everything conspires to throw him into Antigona's arms. Ercole, surprised that his false news evoked no expression of regret, concludes that Alceste has reasons for jealousy. Antigona, again kissing Admeto's portrait, has barely begun an aria when Alceste (still disguised as a soldier) snatches the portrait. Orindo, entering with a troop of soldiers, takes Alceste for the abductor of Antigona and puts her under arrest. Antigona angrily snatches back the portrait and continues her aria. Ercole, astonished to find Alceste in chains, forces the soldiers to release her. He tells Alceste bluntly that the king loves another woman. Striving to conquer her jealousy, she imagines flowers, breezes and birds gracing Admeto's path. The palace. Trasimede hears from Meraspe that Antigona is to marry Admeto and for the first time learns the identity of 'Rosilda'. He vows to kill his brother. Admeto and Antigona sing a love duet, overheard by Alceste and Trasimede. The latter is about to strike Admeto when Alceste snatches the sword from his hand. Trasimede slips away; Admeto, taking Alceste to be his assailant, orders her arrest. Only then does he recognise her. Trasimede returns and is forgiven. When Admeto hesitates between the two women, Antigona takes Alceste by the hand and presents her to Admeto as having twice saved his life. Trasimede goes unrewarded. Alceste sings a love song to her husband, who acknowledges his debt to both ladies: ho owes his life to one, to the other his honour. Riccardo Primo, Re d'Inghilterra – HWV 23 ( Richard I. , King of England )

Opera in 3 Acts

Original language: italian

Duration ca. 3 hours

World premiere: 11.11.1727 (King’s Theatre, Haymarket, London)

Libretto byPaolo Antonio Rolli after Francesco Briani, Isacio Tiranno (1710)

Performer: Les Talens Lyriques - Christophe Rousset, Sara Mingardo (Contralto) - Riccardo I.; Sandrine Piau (Soprano) - Castanza; Lallouette (Bariton) - Bernardo; Roberto Scaltriti (Bariton) - Isacio; Claire Brua (Mezzo-Soprano) - Pulcheria; Pascal Bertin (Counter Tenor) - Oronte Recorded 1996

People: • Riccardo I. (Mezzo Soprano), King of England (Richard the Lionheart) • Costanza (Soprano), his fiancée and daughter of King Sancho VI. of Navarre • Isacio (Bass), Ruler of Cyprus • Pulcheria (Soprano), his daughter, "The maid of Cyprus" • Oronte (Alto), Prince of Syria, Isacio’s of ally • Berardo (Bass), Costanza’s cousin and guardian • Court, guards, servants, warriors, people

Action:

Act I A storm off the coast of Cyprus sinks the English fleet with which Riccardo Primo (alias Richard the Lion-Hearted) wished to fetch home his beloved Princess Costanza of Navarre. Believing her fiancé to have drowned, the disconsolate Costanza and her manservant Berardo assume false names and seek shelter at the court of the villain Isacio. Isacio is enthralled by Costanza's beauty and begins to woo her affections. But Riccardo has survived. Disguised as his own emissary, he confronts Isacio and demands that he releases Costanza, whom he has never seen. Isacio promises to release his fiancé.

Act II Berardo promises Costanza to find out whether Riccardo knows that she is still alive. The wily Isacio learns of Costanza's true identity and orders his daughter Pulcheria to disguise herself as Costanza and marry Riccardo. Pulcheria, distraught, promises to herself that she will unveil the subterfuge at the next opportunity. Isacio's deceit is exposed, and Pulcheria offers herself as a hostage in order to free Costanza. Only at the end of this broadly conceived second act do Riccardo and Costanza meet for the first time and, in a beautiful duet, swear eternal love.

Act III Costanza's repatriation misfires at first as Isacio ambushes the couple with a deft manoeuvre. Tearing Costanza from Riccardo's arms, he takes her captive. Costanza, in the palace, begs for death as her only release and beseeches heaven for assistance. Isacio, with Costanza as his hostage, sets out against Riccardo's onrushing forces. As he prepares to attack, Oronte intervenes and disarms him. Finally, after a battle symphony with trumpets, horns and timpani, Riccardo triumphs over Isacio's forces. A triumphal march ensues, and Riccardo pledges eternal fidelity to Costanza and his friendship to Pulcheria. All join together in a chorus of jubilation.

Siroe, Re di Persia – HWV 24 ( Siroe, King of Persia )

Opera in 3 Acts

Original language: italian

Duration ca. 2 ¾ hours

World premiere: 17.02.1728 (King’s Theatre, Haymarket, London)

Libretto by Nicola Francesco Haym after Pietro Metastasio, Siroe, rè di Persia (1725)

Performer: Capella Coloniensis - Andreas Spering, Ann Hallenberg (Alto) – Siroe, Johanna Stojkovic (Soprano) – Emira, Sunhae Im (Soprano) – Laodices, Gunther Schmid (Counter Tenor) – Medarse, Sebastian Noack (Bariton) – Cosroe, Timm de Jong (Bass) - Arasse Recorded 2003

People:

• Cosroe (Bass), King of Persia, in love with Laodice • Siroe (Mezzo Soprano), his first son, in love with Emira • Medarse (Alto), his second son • Emira (Soprano), Princess of Cambaja in male clothing under the name Idaspe, in love with Siroe • Laodice (Soprano), Sister of Arasse, in love with Siroe • Arasse (Bass), General of the Persian army, Siroe’s friend • Court, guards, servants, warriors, people

Action:

Act I King Cosroe of Persia wants to settle the succession to the throne on his second son Medarse, passing over the popular crown prince Siroe. Emira, Princess of Cambaja, who is secretly in love with Siroe, has been living at the Persian court disguised as a man, under the name of Idaspe, since the assassination of her father Asbite at Cosroe's hand. Siroe greets both her hopes for revenge and the protestations of love of Laodice, his father's mistress, with a firm refusal. Indeed, he attempts to warn Cosroe of the conspiracy by means of an anonymous letter. However, he is surprised in the act of writing this, and from his hiding-place witnesses the slanders of Laodice - who accuses him of sexual assault - and his brother. Siroe gives himself up as the author of the letter, but without identifying the conspirators. While Medarse believes the throne is already within his grasp, both women are plagued by feelings of guilt.

Act II Siroe rails at his destiny. Weary of Laodice's overtures and Emira's tirades of hatred, he intends to fall on his sword. But Cosroe, arriving at this point, thinks he is trying to kill 'Idaspe' (Emira), and has Siroe arrested. A little later, Emira's attempt on Cosroe's life is disturbed by Medarse. However, she once again manages to deceive Cosroe with adroit flattery. Medarse too successfully feigns readiness to sacrifice himself for his father's well- being. In a private interview Cosroe presses his elder son to reveal the conspirators' names, promising him in return the hand of Laodice and the throne - or, if he refuses, death. Siroe is silent. Laodice vainly beseeches 'Idaspe' (Emira) to intercede to save Siroe's life.

Act III The city is in the grip of a popular uprising in favour of Siroe. Cosroe has ordered his execution. Laodice confesses her lies to Cosroe and begs for the prince's life, as now does Emira. Only memories of Siroe's childhood can soften the king's heart. Now the general, Arasse, brings news of Siroe's death. Beside herself with hatred, Emira reveals her true identity, and confirms to the horrified Cosroe that his son was entirely guiltless. Arasse discloses to Emira that Siroe is still alive. This enables Emira to forestall a further assassination plan on the part of Medarse. Siroe pardons his brother. In the meantime rebels have forced their way into the palace. Siroe comes to his father's aid and asks Emira to bury her hatred at last. Cosroe gives his consent to the marriage of Emira and Siroe. Siroe is crowned as the new king of Persia.

Tolomeo, Re di Egitto – HWV 25 ( Tolomeo, King of Egypt )

Opera in 3 Acts Original language: italian Duration ca. 2 ¾ hours World premiere: 30.04.1728 (King’s Theatre, Haymarket, London) Libretto by Nicola Francesco Haym after Carlo Sigismondo Capece, Tolomeo et Alessandro, ovvero La corona disprezzata (1711)

Performer: Il Complesso Barocco - Alan Curtis, Ann Hallenberg (Alto) – Tolomeo, Karina Gauvin (Soprano) – Seleuce, Pietro Spagnoli (Bariton) – Araspe, Anna Bonitatibus (Mezzo Soprano)- Elisa, Romina Basso (Mezzo Soprano)- Alessandro Recorded 2008

People: • Tolomeo (Mezzo Soprano), former King of Egypt, by his mother Cleopatra III. in favor of his brother Alessandro, banished under the name "Osmino" as a shepherd clad • Seleuce (Soprano), his fiancée, under the name "Delia" as a Shepherdess dressed up • Elisa (Soprano), Araspe's sister • Alessandro (Alto), Tolomeo’s brother of Cleopatra's heir-apparent preferred • Araspe (Bass), King of Cyprus • Court, guards, servants, warriors, people

Action: Act I Tolomeo, eldest son of Cleopatra, is in exile on the island of Cyprus disguised as a shepherd called Osmin. His mother has usurped him and put his younger brother, Alessandro, on the throne. To add to his woes, Tolomeo believes that his beloved wife Seleuce has been drowned at sea in a shipwreck. In despair he prepares to throw himself into the sea, but is halted by a cry of distress. He sees a figure battling the rough seas and wades in to rescue him. The man collapses unconscious at his feet, and Tolomeo is astonished to see that it is his brother, Alessandro. On the point of killing him in revenge, he halts and decides to let him live so that Alessandro will be twice beholden to him. Elisa, the sister of Araspe the king of Cyprus, now enters. She finds the sleeping Alessandro and wakes him. On waking Alessandro instantly falls in love with Elisa, and agrees to retire to her villa to revive. Elisa reveals her love for the shepherd 'Osmin'. Seleuce, who has not been killed at sea, is searching for her exiled husband, disguised as the shepherdess Delia. She is pursued by Araspe who loves her. But she rejects him, and he leaves to welcome Alessandro. Seleuce declares her undying love for Tolomeo. Elisa arrives at 'Osmin's' hut and tries to persuade him to forgo his pastoral idyll for life at court. He resists, so she invites him instead to her villa. Recognising Elisa's love for him, Tolomeo confirms his desire to revenge his wife's supposed death. Finding comfort in his anger, he falls asleep. Seleuce enters, still searching for her husband. Seeing the sleeping shepherd she thinks she recognises him as Tolomeo, and draws closer to confirm her hopes. Araspe enters and watches her approach the shepherd, uttering words of love. In a jealous rage, Araspe rushes forward with sword drawn and threatens to kill his apparent rival. Seleuce runs away in alarm, calling back to the shepherd to wake and save himself. Tolomeo wakes and thinks he hears his wife's voice in his dreams. Seeing Araspe with sword raised Tolomeo begs for death. Araspe accuses him of being 'Delia's' lover but Tolomeo denies this. Unconvinced, Araspe lets the shepherd live but tells him to leave immediately. Left alone, Tolomeo prays to hear his wife's voice again, for with her return all his sorrows will be at an end.

Act II Elisa is searching for 'Osmin', when Tolomeo enters. He reveals his identity to her, but they are interrupted by Araspe who is furious to see the banished 'Osmin' still on the island. Elisa persuades Araspe to trust the shepherd to her care, and she offers to help Tolomeo. Seleuce longs for her lost husband. Elisa enters with Tolomeo, who instantly recognises Seleuce. But, in order to protect him, she pretends not to know who he is. Elisa now has confirmation of her suspicions. She offers to help Tolomeo regain his throne if he will declare his love for her. But he refuses, declaring that only Seleuce is worthy of his love. Left alone Elisa's thoughts turn to revenge. She is joined by Alessandro, who has won Araspe's agreement to his union with Elisa. But she cannot consider his affection until he has strengthened his claim to his throne by killing his brother, Tolomeo. Alessandro now faces a dilemma, as he has decided to restore Tolomeo to his rightful place as Prince of Egypt. He is at once attracted by Elisa's beauty and repelled by her harshness. Tolomeo and Seleuce continue to search for their lost love, echoing each other's words. Araspe appears and attempts to embrace 'Delia'. Tolomeo leaps to her defence, and reveals his true identity to Araspe. Inspired by her husband, Seleuce too reveals who she is and begs Araspe to spare them. But the King is resolute, and has the couple bound and taken away as they bid each other a despairing farewell.

Act III In Araspe's palace Alessandro has received news of the death of his mother Cleopatra, and mourns her. Araspe arrives and tells Alessandro that he has arrested Tolomeo, advising him to execute his brother. Alessandro pretends to want his brother returned to Egypt in chains, though he plans secretly to restore him to the throne. Araspe believes that Alessandro does not want the death of his brother on his own hands, and decides to kill Tolomeo himself. Elisa is holding Seleuce captive. She tells Seleuce that to save Tolomeo's life she must convince him to marry Elisa. When Tolomeo arrives Seleuce tries to persuade him to accept Elisa's hand, but he is steadfast. He would rather die than submit. In her anger Elisa anticipates executing the devoted couple. In the woods near the palace, Alessandro rescues Seleuce from Elisa's guards. She is afraid of him, believing he has already killed Tolomeo. But he assures her that he will return his brother to the throne, and begs forgiveness of her. Selecue begins to believe that there might be a happy ending to her misery. Tolomeo has been given poison by Elisa and, bidding farewell to his beloved Seleuce, he willingly drinks it. He falls to the ground. Araspe leads Alessandro to his brother's body, who is horrified and warns Araspe that he will pay for this murder. But all Araspe can think about is Seleuce, who is now free to marry him. Elisa announces that she has had Seleuce put to death, and confides to Alessandro that she has given Tolomeo a sleeping draught rather than poison. Tolomeo now begins to wake, and as he does Alessandro leads in the rescued Seleuce. The couple are finally reunited in freedom, and Alessandro is reconciled with his brother. Tolomeo forgives all and prepares to reclaim the throne of Egypt.

Lotario – HWV 26

Opera in 3 Acts Original language: italian Duration ca. 3 hours World premiere: 2.12.1729 (King’s Theatre, Haymarket, London) Libretto by Giacomo Rossi after Antonio Salvi, Adelaide (1722)

Performer: Wiener Symphoniker - Uwe Christian Harrer, Cembalo/Harpsichord - Ernst Würdinger, Batienne - Dominik Orieschnik; Bastien - Georg Nigl; Colas - David Busch Recorded 1987 People: • Adelaide (Soprano), Widow of Lothair, King of Italy • Lotario (Otto I.) (Alto), King of the East Frankish Empire • Berengario (Tenor), Duke of Spoleto • Matilde (Alto), Berengar's wife • Idelberto (Alto), Berengar's son (Adalbert of Ivrea) • Clodomiro (Bass), Berengario‘s General • Court, dignitaries, guards, servants, warriors, people

Action: Act I Prior to the action of the opera, Berengario has ruled a divided Italy with Lotario. But Berengario grew ambitious and had Lotario poisoned, offering his own son Idelberto in marriage to Lotario's widow, Adelaide. She refused the offer, and now reigns in her dead husband's place from his court in Pavia. At the start of the opera, Berengario bemoans the fate of the ambitious ruler. Clodomiro, his general, arrives to tell him that the German king, also called Lotario, is marching his troops into Italy. Berengario dispatches Clodomiro to rouse his son to arms to capture Pavia before Lotario and his troops arrive. Matilde, Berengario's equally ambitious wife, enters to tell him that she has bribed the citizens of Pavia to open the city gates to his troops. Idelberto is horrified by this unchivalrous act, and begs his father to spare Adelaide who he genuinely loves. Berenagrio promises to act honourably. Idelberto asks his mother, too, to be merciful to Adelaide. But she is implacable and tells her son to convince Adelaide to marry him, or she will die. In her throne room in Pavia, Adelaide contemplates her desire for revenge. She admits Lotario, the German king, to her presence. He reveals that he has loved her for many years, and has arrived now to offer his support to her. She accepts his offer, and promises him anything he demands if he is successful. Clodomiro now enters and repeats Berengario's offer of his son in marriage. Adelaide once more refuses. Lotario now returns and tells Adelaide of the treachery of her people - they have opened the city gates to admit Berengario and his troops. Distraught, Adelaide begs to be left alone, but Lotario wants to stay and die with her. Adelaide tells him that if he truly loves her he will fight to save her. She promises her heart if he returns in triumph, and he goes off to fight in her name. Berengario enters the city in triumph, but is confronted by a haughty Adelaide. She once again refuses his offer of Idelberto in marriage. Clodomiro arrives with the news that Lotario's troops are at hand, so Berengario leaves Adelaide a captive to Matilde while he goes to confront the German king. Matilde drags Adelaide off to prison in chains.

Act II Berengario's troops have been routed and he flees the battlefield. He resolves to die like a king, but is captured by Lotario. Handing over his sword, Berengario surrenders to fate. As Berengario is taken to prison, Lotario contemplates his own surrender to love. Adelaide is in prison, preparing herself for death and a reunion with her husband. Clodomiro enters with two basins - one containing poison and a dagger, and the other a crown and sceptre. When forced to chose between them, Adelaide decides that death is preferable to marriage with her enemy, and choses the poison and dagger. Determined to die in the same way as her husband, she reaches for the poison as Matilde enters. As she is about to drink, encouraged by Matilde, Idelberto overcomes the guards and bursts in. Matilde is furious and reminds Idelberto that he is her subject as well as her son. Grabbing the dagger and bearing his breast, he begs his mother to kill him for he cannot live without Adelaide. She refuses and urges Adelaide on. As she lifts the cup again to her lips, Idelberto holds the knife to his own breast and threatens to kill himself. Finally moved by her son, Matilde dashes the cup and dagger from their hands. Clodomiro enters with news of Berengario's defeat and disappearance. Matilde orders him to summon the Senate, and leaves Adelaide and Idelberto alone with her curse. Adelaide tells Idelberto of her gratitude for saving her life, but tells him she can never love him. Idelberto tells her that he is content to worship her from afar. Left alone in her cell, Adelaide thanks the gods for the two protectors that have saved her - Lotario and Idelberto. Outside the city of Pavia, where his troops are encamped, Lotario calls to Matilde to appear. She does so on the city walls, and is offended by Lotario's insults. She brings Adelaide out and threatens to kill her if Lotario does not withdraw. Lotario sends for Berengario, threatening to kill him if Matilde hurts Adelaide. Now Idelberto arrives and offers to die in Matilde's place, offering himself as a prisoner to Lotario. Matilde hesitates, then returns Adelaide to her cell. Lotario releases Berengario and sends him to his wife, with demands for the release of Adelaide. If this is not agreed, Idelberto will die. Lotario sends Idelberto to captivity as he prepares to storm the walls of Pavia.

Act III Matilde and Berengario try to persuade Adelaide to write to Lotario, and to use her influence over him to promise them their throne again. Adelaide refuses, and returns to prison. Matilde and Berengario agree to continue the fight against Lotario, though Berengario is concerned about his son's fate. Matilde, left alone, continues to hope that her luck will change. Lotario once more has Berengario in chains, and launches his assault. The walls of Pavia are breached, and he is horrified to see Clodomiro guarding Adelaide in the front line of Matilde's troops. He orders his troops to cease the assault, and raises the white ensign of surrender. Once more he threatens to kill Idelberto and Berengario if Adelaide is not removed from the battlefield. Idelberto is sent into the breach to remove Adelaide, and Berengario is returned to captivity. Clodomiro realises that Matilde will soon join Berengario in chains. Lotario receives a letter of surrender from the people of Pavia, and prepares to rescue his beloved Adelaide. In the throne room, Idelberto discovers his mother with drawn sword preparing to take Adelaide's place on the battlefield. Idelberto begs her as his mother to desist, but she disowns him, calls him a coward, and says she will show him that she has a dauntless and heroic soul. As she leaves she is met by Clodomiro, who tells her that she is too late, and that Pavia has surrendered to Lotario. Blaming her son for this disaster, she demands that Adelaide is brought before her so that she can kill her before Lotario arrives. But Idelberto tells her that he has already released Adelaide, and she turns her sword on him. If he has truly committed a crime, Idelberto tells her, then he deserves to die at her hand. Torn between vengeance and her maternal instinct, Matilde hesitates. Lotario storms in and orders Matilde to be chained. But the queen refuses to surrender and tries to kill herself with her sword. But Berengario enters and begs her to submit, and finally she lets her sword drop and is put in chains with her husband. Lotario agrees to Adelaide's request to decide the fate of the captives. She agrees to marry Lotario and, in thanks for saving her life, raises Idelberto to his father's throne. She joins Lotario in a duet celebrating their love, and all join in a final chorus of praise to their love and the valour of just rulers. Partenope – HWV 27

Opera in 3 Acts

Original language: italian

Duration ca. 3 ¼ hours

World premiere: 24.02.17 0 (King’s Theatre, Haymarket, London)

Libretto nach Silvio Stampiglia, Partenope (1699)

Performer: Wiener Symphoniker - Uwe Christian Harrer, Cembalo/Harpsichord - Ernst Würdinger, Batienne - Dominik Orieschnik; Bastien - Georg Nigl; Colas - David Busch Recorded 1987

People: • Partenope (Soprano), Queen of the city of Partenope (Naples), loves Arsace • Arsace (Alto), Prince of Corinth, loved once Rosmira and now Partenope • Rosmira (Alto), Princess of Cyprus, engaged with Arsace and he abandoned,covered in Armenian costumes under the name of 'Eurimene' • Armindo (Alto), Prince of Rhodes, loves Partenope • Emilio (Tenor), Duke of Cumae, loves Partenope • Ormonte (Bass), Commander of the bodyguard of Partenope • Priests, warriors, guard, officials, people

Action:

Act I Together with her friends Partenope is enjoying a party at her villa, and the guests praise her qualities as a hostess. An unknown new guest, Rosmira, disguised as Eurimene, is invited to these celebrations by Ormonte. Arsace is suspicious of the new guest, perplexed by the young man’s resemblance to his former fiancée. Rosmira befriends Armindo and advises him strongly to tell Partenope of his love for her. Rosmira confronts Arsace, who claims he still loves her, but she forces him to vow never to disclose her true identity. Armindo tries to confess his love to Partenope, but fails. Rosmira embarrasses Arsace in front of everyone, but Partenope reaffirms her loyalty to him. However, he is disconcerted by Rosmira who makes it plain that she wants to disrupt his relationship with Partenope. Emilio, eager to gain the attention of Partenope, challenges her to a war game with him, involving all the others around her. Partenope is determined to prove herself against Emilio in the battle. Arsace, Armindo and Rosmira/Eurimene want to act as personal protectors of Partenope against Emilio. Arsace is worried by Rosmira’s participation in this game, whilst Armindo is confused about her, suspecting that she is a new suitor for Partenope. Rosmira/Eurimene reassures Armindo that she is no rival and is actually hunting a ‘different kind of prey’.

Act II The war game takes place and Partenope and Emilio rally their troops. Emilio is ‘defeated’ and realizes that his chances as a suitor have seriously diminished. Rosmira embarrasses Arsace, and claims victory. Emilio bemoans the lack of success of his pursuit of Partenope. Rosmira again embarrasses Arsace in front of everyone, suggesting he might be unfaithful. He is unable to defend himself, afraid that his previous relationship will be disclosed. Partenope is shocked about Rosmira/Eurimene’s audacity, forces her to stop these accusations, but realizes that something strange is happening to Arsace. Arsace and Rosmira continue to quarrel, and Emilio is intrigued by Rosmira’s behaviour. Armindo, gaining confidence, succeeds in expressing his love for Partenope. Because she is slightly growing suspicious of Arsace, Partenope is friendly towards him but does not offer him much hope. Rosmira asks Armindo to organize a meeting with Partenope at which she intends to reveal a secret. Alone again with Arsace, she scorns him. Arsace is torn between Partenope and Rosmira and his fear and despair confuse him more and more.

Act III Rosmira/Eurimene reveals in public to Partenope that a certain Rosmira has sent her. Now Arsace fears a disclosure of her true identity and a subsequent end of his relationship with Partenope. But Rosmira only reveals that this Rosmira has sent her to inform Partenope about the unfaithfulness of Arsace. A devastated Partenope now accuses him of being a traitor. To solve this conflict, Rosmira/Eurimene proposes to confront Arsace in a duel, while Emilio and Armindo propose to assist the two fighters. In a last private encounter, Rosmira dismisses Arsace, who is heart-broken by the unequivocal rejection of his former lover. Observed by Rosmira and Partenope, Arsace mentions Rosmira’s name in a nightmarish slumber. Again, both women accuse him of betrayal. Ormonte prepares everything for the final battle and the duel is about to start when Arsace, in an unexpected move, suddenly demands that Rosmira fights stripped to the waist, knowing that she cannot do this without giving up her disguise. Rosmira is confounded. Forced by everyone to give in to this request, she confesses her real identity. Partenope is shocked by this revelation and by the fact that Arsace publicly humiliated Rosmira with this confession. Should she dismiss Arsace and turn to Armindo now? Should she leave her unfaithful lover to Rosmira? And should Rosmira accept the man who betrayed her or should she take her freedom? A hymn to love is sung by Partenope and all her guests, but the party is over. Poro, Rè dell'Indie – HWV 28 ( Porus, King of India )

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 2.02.1731 (King’s Theatre, Haymarket, London)

Libretto after Pietro Metastasio, Alessandro nell’Indie (1729)

Performer: - Fabio Biondi, Banditelli – Poro, Rossana Bertini – Cleofide, Bernarda Fink – Erissena, Gérard Lesne – Gandarte, Sandro Naglia – Alessandro, Roberto Abbondanza - Timagene Recorded 1994

People: • Poro (Mezzo Soprano), Indian King of Paurava • Alessandro il Grande (Tenor), King of Macedon • Cleofide (Soprano), Indian Queen of the Assacens • Erissena (Alto), Poro’s sister • Timagene (Bass), Alessandro‘s statesman and hidden enemies • Gandarte (Alto), Poro‘s friend and statesman • Court, officers, soldiers, guards

Action: Handel’s opera takes as its historical setting the period around 327 B.C. when Alexander the Great was conducting his Indian campaign. By the river Hydaspes, a tributary of the Indus, he came up against the proud-hearted Indian King Poro who, although defeated by Alexander, proved to be a worthy adversary. Act I The opera begins with the Indian defeat, upon which King Poro, in his despair, is intent on taking his own life. At the last moment his friend Gandarte intervenes, reminding Poro of his love for Queen Cleofide and of the duties he holds towards his land. They decide to change places, with the King’s royal insignia to be worn instead by Gandarte, who then flees. Poro is unable to escape, however, and is taken captive by Timagene, Alexander’s second-in-command. Claiming to be the Indian warrior Asbite, he is instructed by Alexander to inform King Poro that if he admits defeat, he will be treated with leniency. As a symbol, Alexander hands over his sword to the supposed warrior, who is to bring it to the Indian king. Poro’s sister Erissena is also held and brought before Alexander. The ruler makes amorous approaches and his commander Timagene is also powerless to resist her charm. But the latter experiences a rebuttal - the Princess’ preference lies with Alexander. In the meantime, Poro has managed to make his way to the Palace of Queen Cleofide. He fears that his spouse is being untrue to him, but Cleofide is able to dispel these fears and Poro swears fidelity to her. Erissena, who has been set free by Alexander, also arrives at the Palace. When – for tactical reasons – Cleofide gives instructions that a greeting from her be sent to the Greek leader, Poro sinks again into deep despair, but with a renewed affirmation, Cleofide succeeds in convincing him once more of her love for him. Gandarte appears and recounts to his king that Alexander was indeed taken in by the deception and now believes him, Gandarte, to be king. He goes on to let Poro into the secret of a conspiracy against Alexander by the Greek army. But at this moment Poro can think of nothing other than his beloved Cleofide, whom he believes to be on her way to Alexander – he reveals to Gandarte the pains of love he is suffering. No sooner has Poro departed than Erissena rushes in, enthusing to Gandarte about the splendid Alexander. Gandarte, who loves the young princess, is visibly hurt by these words and when she challenges him to show his love for her is able to react only haltingly; he promptly obtains a rebuff from the annoyed Erissena. Alexander, in the meantime, is receiving Cleofide, who begs him to show mercy towards her land. Whilst finding her diplomatic efforts interesting, it is the woman herself who fascinates him most. Poro, in his role as Asbite, succeeds in gaining entry and is again the victim of his own jealousy as he witnesses how Alexander praises the Queen’s beauty. A dispute ensues between Poro and his beloved, who feels that she is being unjustly accused.

Act II Cleofide receives Alexander in her Residence for negotiations. Poro, however, decides in his jealousy to launch an attack on the Greeks, but this ends in failure. In view of the desperate situation in which Poro now finds himself, the lovers are reconciled and when again threatened with danger, the Indian King sees death as the only way out for them both – but this is narrowly averted by Alexander. Asbite, the presumed warrior, is taken prisoner and placed in the custody of Timagene. Cleofide can get word to him only by circuitous means (the communication is disguised as a message for King Poro which Timagene is to deliver). Timagene, however, unexpectedly releases the prisoner and requests that he inform Poro of the Greek plot against Alexander. In the Queen’s residence, Gandarte learns of Poro’s fate. Upon the approach of Alexander, Gandarte hides. Alexander demands the life of the Queen in return for those of the soldiers killed in the attack and declares that she can have her life spared only by becoming his wife. Cleofide refuses. Gandarte – in the guise of Poro – comes out of hiding and offers to pay with his own life. Alexander leaves, deeply moved by these events. Erissena appears bringing with her the devastating news of Poro’s death. Cleofide is distraught.

Act III In the royal gardens, Poro meets his sister Erissena, who is astonished to find him alive. Poro resolves to take revenge on Alexander and asks Erissena to let Timagene know that he is willing to commit a murderous attack. Alexander, meanwhile, encounters the desperate Cleofide. Consumed with thoughts of mortality, she is now willing to become his wife, but as Poro’s widow – or so she believes – intends thereafter to go to her death in accordance with the Indian custom of widow-burning. Alexander meets Erissena who gathers from what he says that he is aware of Timagene’s conspiracy. The latter is summoned before Alexander, yet forgiven by him. Poro learns that the conspiratorial plot has failed and begs Gandarte to kill him with the sword. Appearing on the scene, Erissena tells of Cleofide’s marriage plans. Poro collapses in a state of embitterment. He swears revenge on Alexander and resolves to go his death when this has been accomplished. Gandarte is likewise prepared to end his life and bids a tender farewell to his lover. In the Indian temple, the wedding preparations are in progress. In the background, a sacrificial fire confirms that Cleofide indeed means to die when the marriage ceremony has taken place. Having observed the events from a hiding place, Poro throws himself before the feet of the amazed Cleofide, thereby at last also revealing to Alexander his true identity. Such fidelity makes a deep impression on the Greek leader who determines that Cleofide and Poro should live together in happiness, whilst he for his part requests the friendship of the Indian king. Ezio – HWV 29

Opera in 3 Acts Original language: Italian

Duration ca. 3 hours World premiere: 5.01.1732 (King’s Theatre, Haymarket, London)

Libretto after Pietro Metastasio, Ezio (1728)

Performer: Il Complesso Barocco - Alan Curtis, Ann Hallenberg (Mezzo Soprano) – Ezio, Karina Gauvin (Soprano) – Fulvia, (Alto) – Valentiniano, Marianne E. Andersen (Alto) – Onoria, Anicio Zorzi Giustiniani (Tenor) – Massimo, Vito Priante (Bariton) - Varo Recorded 2009

People: • Ezio (Mezzo Soprano), Roman general • Fulvia (Soprano), his fiancée • Valentiniano (Alto), Roman Emperor • Onoria (Alto), his sister • Massimo (Tenor), Father of Fulvia, Roman patricians, Minion of the Emperor • Varo (Bass), Praetorian prefect • Warriors, guards, courtesans and Senators

Action:

The historical basis of the libretto is the rivalry between Valentiniano, the supreme head of the Western Empire, and his general Ezio, who defeated Attila at the Battle of the Catalaunian Plains in AD 451 and rescued the Roman Empire from the invading Huns.

Act I Handel’s opera begins at the point where Ezio is received in the Roman Forum by Emperor Valentiniano following his victory over Attila. Valentiniano praises his general’s abilities and assures him of his undying affection.

Valentiniano leaves. Massimo, a patrician who is one of the emperor’s favourites, enters with his daughter Fulvia. She is promised in marriage to Ezio and returns his love. But Massimo tells Ezio that the emperor wants to marry Fulvia. He has no way of dealing with the tyrant, unless Ezio agrees to kill Valentiniano. In this way Massimo secretly hopes to make the general the agent of his own revenge, for Valentiniano had once impugned his wife’s honour. But Ezio is not prepared to become a traitor. He trusts in his merits and in the emperor’s gratitude.

As soon as they are alone together, Fulvia calls her father to account and reproaches him for making her the plaything of his own ambitions: first he promises her to Ezio, then he orders her to submit to the emperor’s advances. Massimo observes that as the emperor’s wife she will have an opportunity to kill Valentiniano, an observation that fills her with disgust. She reminds her father of his honour. Left alone, Massimo sees himself obliged to change his plans: since neither Ezio nor Fulvia is willing to murder the emperor, his servant Emilio will have to do so. If the attempt fails, he will ensure that suspicion for the deed falls on Ezio.

In the royal apartments, Valentiniano’s sister Onoria questions Varo, prefect of the imperial guard, about Ezio. It is clear from her enquiries that in spite of their difference in social rank, she secretly loves the general.

Valentiniano summons Ezio, whose growing fame makes him uneasy. Massimo fuels the emperor’s mistrust of his general. Valentiniano offers Ezio Onoria’s hand in marriage, an offer ostensibly motivated by gratitude but in fact designed to remind Ezio of his duty. Ezio confesses to loving Fulvia. Valentiniano gives Ezio to understand that they are rivals, causing Ezio to react defiantly. But the emperor puts him firmly in his place.

Onoria announces that the emperor plans to take Fulvia as his wife the very next day. Faced by such contempt, Ezio feels his loyalty ebbing away. Fired by anger, he threatens revenge.

Act II In the palace gardens at dawn, Massimo awaits news of Emilio, who was to murder the emperor that very night. Fulvia enters and reports that an attempt has been made on the emperor’s life. She is certain that the attack was instigated by Massimo and urges him to flee. Valentiniano is unharmed. He has recognized Emilio as his attacker but believes that it was Ezio who planned the conspiracy, a belief confirmed by Massimo. Valentiniano now counts entirely on Massimo’s help and on Fulvia’s love.

Left alone with Massimo, Fulvia is appalled that he could accuse Ezio against his better judgement. She is ready to repudiate her father unless he is willing to abandon his goals. Before he leaves, Massimo reminds his daughter that his life is in her hands. Fulvia is helpless in the face of such a dilemma. If she speaks out, she will cause her father’s death, whereas if she says nothing, her lover will die. Ezio enters, all unsuspecting, on his way to help the emperor. She urges him to flee, but Ezio is confident that, being innocent, he has nothing to fear. Varo enters and in the name of the emperor relieves his old friend of his sword. Ezio is then led away by guards. Varo advises Fulvia to pretend that she is in love with the emperor in order that once she is married to Valentiniano she may be able to save Ezio.

In the palace Onoria tells Maximus that in spite of all the evidence to the contrary she cannot believe that Ezio is guilty. Valentiniano enters and informs Onoria that Attila wants to marry her. Onoria will decide only when Ezio has spoken. She leaves. Fulvia and Valentiniano await the captured Ezio. In reply to Ezio’s question, the emperor declares that together with his future wife Fulvia he himself will judge the accused. Faced with Fulvia’s apparent infidelity, Ezio throws caution to the winds and accuses the emperor of stealing his lover. Fulvia initially shows great stoicism in insisting that she loves Valentiniano but in the end her strength fails her and she admits to loving only Ezio. The enraged emperor orders Ezio to be thrown into prison and together with Massimo leaves the room. Ezio is afraid of neither imprisonment nor death but is happy to possess Fulvia’s love. In his thoughts he asks his lover to forgive him for his doubts.

Act III Onoria visits Ezio in his prison cell, bringing with her an offer from her brother: Ezio will be set free if he reveals details of the conspiracy. Ezio insists on his innocence: he would rather die than humiliate himself in this way. Stunned, Onoria declares that he should at least remain alive for her sake because she loves him. Ezio tells her that he loves another and that he is prepared to suffer the emperor’s undeserved punishment.

Onoria reports back to the emperor on her abortive conversation with Ezio. She advises Valentiniano to adopt a more magnanimous approach and to leave Fulvia to make him see reason. Valentiniano agrees. He orders Varo to have Ezio killed if on his return Ezio is not accompanied by Varo himself. Massimo enters and insists that Ezio be killed. Ezio is brought in chains, and Valentiniano then sends for Fulvia. He is prepared to reunite the couple if Ezio tells him about the conspiracy. Ezio immediately turns to leave, whereupon Valentiniano gives order for the prisoner to be released, declaring that he now believes in his general’s innocence. Overcome by gratitude, Ezio leaves.

Events now follow hard on each other’s heels. Varo enters to announce that Ezio has been killed in keeping with the emperor’s orders, only to be followed by Onoria, who reports that Emilio, severely wounded in the attack, has admitted with his dying breath that Ezio is innocent. All the evidence points to Massimo, but in order to save her father, Fulvia claims that she herself is the guilty party. Weary of life, Valentiniano turns away. In the space of a single day he has lost hope, peace, his lover and his friend. Fulvia realizes that her father is the source of all her unhappiness, so that when he tries to express his gratitude, she thrusts him aside. Massimo remains determined to punish the emperor for the insult that he has suffered at his hands.

On the Capitol, Massimo incites the people of Rome to avenge the death of Ezio and free the city from its tyrannical ruler. Valentiniano enters, defenceless and in search of help. Massimo attempts to kill him, but Fulvia throws herself between them in order to protect the emperor. Varo and Ezio then enter, Varo having merely pretended that Ezio was dead. They free Valentiniano from the desperate situation in which he finds himself. The emperor sees that he has acted wrongly and expresses remorse for his actions. At Ezio’s request he spares Massimo’s life. Ezio and Fulvia are finally united, and all join in praising the lovers’ fidelity, which has proved itself even in suffering.

Sosarme, Re di Media – HWV 30 ( Sosarme, King of Media )

Opera in 3 Acts Original language: italian

Duration ca. 2 ½ hours World premiere: 15.02.1732 (King’s Theatre, Haymarket, London)

Libretto after Antonio Salvi, Dionisio, Re di Portogallo (1707)

Performer: St. Cecilia Orchestra - Anthony Lewis, St. Anthony Singers, Alfred Deller (Counter Tenor) – Sosarme, William Herbert (Tenor) – Haliate, Nancy Evans (Alto) – Erenice, Margaret Ritchie (Soprano) – Elmira, John Kentish (Tenor) – Argone, Watts (Alto) – Melo, Ian Wallace (Bass) - Altomaro Recorded 1954

People: • Sosarme (Mezzo Soprano), King of Media • Haliate (Tenor), King of Lydia • Elmira (Soprano), Daughter of Haliates and Sosarme’s fiancee • Erenice (Alto), Wife of Haliate • Melo (Alto), Haliate‘s illegitimate son • Altomaro (Bass), Haliate‘s consultants • Argone (Alto), Haliate‘s son • Court dignitaries, warriors, guards, servants

Action:

Alfonso, son and heir to Dionisio, king of Portugal, has rebelled against his father, believing him to favour his illegitimate son Sancio. Dionisio has taken up arms against his son's forces, who are now under siege in the city of Coimbra, where they hold control of the royal palace. Within the palace are Alfonso's mother, queen Isabella, and his sister , who is promised in marriage to Fernando, king of Castile. Fernando has come with his army to Coimbra in an attempt to resolve the dispute between father and son. Act I Within the walls of Coimbra Alfonso addresses his army. The citizens of Coimbra are starving, yet the beseiging army outside the walls has adequate provisions. Alfonso determines to launch an attack on it.

Inside the palace, Isabella tells her daughter of a dream in which the holy martyr Irene appeared to her and promised an end to the war, but that peace would come as a result of Alfonso shedding royal blood. Elvida takes heart at this ambiguous message, but is then distressed to learn that Alfonso is preparing a sortie from the city to attack their father's forces. Isabella resolves to stop him, either with tearful pleas or, if necessary, with her life.

In the encampment outside the city Dionisio's trusted adviser Altomaro encourages Sancio - who is his own grandson - to profit from the current discord and promote himself as Dionisio's legitimate heir. Sancio nobly scorns the suggestion. Fernando tells Sancio that he is ready to enter the city and negotiate with Alfonso; if this fails he will at least have the chance to see his beloved Elvida. Sancio wishes his enterprise well.

Fernando's first interview is with Dionisio, who remains resolute in his determination to disinherit his rebellious son and to prosecute war against him. Fernando warns Dionisio that he cannot support such capricious and tyrannous behaviour. Dionisio curses the fate that unites his own family and friends against him, but is determined to punish Alfonso.

Alfonso prepares for the assault on his father's beseiging forces, but is stopped by Isabella and Elvida, who plead with him not to hurt his father. His resolve starts to weaken, but a sudden shout from his army rouses him to action and he leaves for battle. Isabella is distraught, expecting to lose either her husband or her son; Elvida prays to Irene that her prediction may prove untrue.

Act II From the battlements Elvida watches as Alfonso's forces are met at the gate by Fernando's army; then dust and smoke conceal the fighting. Now she waits in the palace apprehensively for news of the outcome. Triumphant music signals Alfonso's victory and Isabella fears that her son has killed her husband. Alfonso returns, a bloody sword in his hand. He begins to explain that the blood is Fernando's - at which Elvida collapses, and Isabella, in anger and distress, refuses to listen further.

Dionisio accuses Sancio of refusing to support his cause, but Sancio protests that his greatest wish is to preserve the honour of his king, and suggests that Dionisio might best punish Alfonso by offering him a pardon. Dionisio reluctantly agrees to send Altomaro as an envoy to Alfonso with terms of peace. Alone with Sancio, Altomaro accuses him of throwing away his chance of the throne, but Sancio steadfastly refuses to act dishonorably. Altomaro secretly forms a plan to further his own cause.

Fernando was only slightly wounded and is recovering in the palace, tended by Elvida. They are grateful for a misfortune that has brought them closer together. Heralds carrying a flag of truce are seen approaching the palace and Isabella asks Fernando to plead with Alfonso, which he agrees to do: it was for this reason that he allowed himself to be injured and taken prisoner.

Alfonso agrees to be reconciled with his father if Dionisio will name him as his rightful heir, and is reunited with his mother and sister. Altomaro is brought in, but his astonishing message is that Dionisio regrets the injuries to both armies and now proposes to resolve the dispute in single combat with Alfonso. Alfonso angrily accepts and storms out; Isabella leaves at once to plead with Dionisio, while Fernando undertakes to pacify Alfonso. Fernando promises Elvida that they will soon enjoy their love in peace; Elvida tentatively hopes that the combined efforts of her mother and her lover will restore peace to her family.

Act III In the camp outside Coimbra Dionisio waits for his son's response. Affecting great distress Altomaro now reports that Alfonso has rejected his father's terms and demands to meet him in single combat. Isabella is seen approaching, and Altomaro tells Dionisio that she is behind the plan; thus when she arrives Dionisio angrily refuses her a hearing and has her arrested. Sancio sees through the confusion to Altomaro's deceit and determines to outwit him by taking Dionisio's place in the forthcoming duel. Meanwhile he places Isabella under guard in his own quarters, where she waits in despair.

Alfonso has found a secret route out of the city to his father's camp. Fernando and Elvida attempt to reason with him, but he leaves in a fury. Fernando determines to follow him to the camp and prevent the duel; Elvida momentarily despairs, but gathers her resolve to follow and do her best to avert imminent diaster.

On the field set aside for the duel Dionisio waits with Altomaro, who fuels his anger against his son. Sancio attempts, but fails, to persuade Dionisio to let him fight in his stead. Alfonso presents himself; he and Dionisio take up swords and, encouraged by Altomaro, the duel begins. Almost at once Isabella and Sancio rush forward to intervene and both are wounded, Isabella by Alfonso and Sancio by Dionisio. The men throw down their weapons in horror, while Altomaro slips away unnoticed.

Dionisio learns that both he and Alfonso have been betrayed by Altomaro. Fernando arrives, and reports that Altomaro has committed suicide. Alfonso and Dionisio are reconciled, and Fernando and Elvida reaffirm their love. The final chorus celebrates the end of discord and the restoration of peace.

Orlando – HWV 31

Opera in 3 Acts

Original language: italian

Duration ca. 3 hours

World premiere: 27.01.1733 (King’s Theatre, Haymarket, London)

Libretto after Carlo Sigismondo Capece, L’Orlando, overo La gelosa pazzia (1711)

Performer: Les Arts Florissants - William Christie, Patricia Bardon (Mezzo Soprano) – Orlando, Rosa Mannion (Soprano) – Dorinda, Hilary Summers (Contralto) – Medoro, Rosemary Joshua (Soprano) – , Harry Van der Kamp (Bass) – Zoroastro Recorded 1996

People: • Orlando (Mezzo Soprano), a Breton Knight • Angelica (Soprano), Queen of Cathay (China), loves Medoro • Medoro (Alto), a Moorish Prince, loves Angelica • Dorinda (Soprano), a Shepherdess • Zoroastro (Bass), a magician • Ghosts, Knights, shepherds

Action:

Act I

Countryside at night, with a view of a mountain on which Atlas is seen supporting the heavens on his shoulders.

Zoroastro contemplates the constellations, obscure in meaning to ordinary mortals, but which tell him that Orlando will one day return to deeds of glory. Orlando himself appears, torn between conflicting desires for love and glory. Zoroastro rebukes him for his devotion to love, and with a wave of his wand causes the view of the mountain to change to the Palace of Love, where heroes of antiquity appear asleep at Cupid's feet. He urges Orlando to abandon Love and follow Mars, the god of war. Orlando is at first shamed by the vision, but then considers that glory can be obtained in pursuit of love: Hercules remained a hero despite his affair with , as did Pelides 'when in a damsels soft array he threaten'd Asia's realms to blast!' (an oblique reference to Achilles, son of Peleus, who as a boy was disguised as a girl and sent to Scyros to avoid the Trojan war; he was discovered when he pugnaciously brandished a sword offered to him by Odysseus).

A little wood with shepherds' huts.

The shepherdess Dorinda reflects on the beauties of nature, once delightful, but now filling her with grief, perhaps - she is not sure - because she is in love. Orlando rushes past with a princess he has just rescued (identified later as Isabella); he too - thinks Dorinda - may be affected by love. She really does not know what she feels. Angelica now appears, admitting to herself that despite Orlando's attentions she has fallen in love with Medoro, whose wounds she healed while he was being looked after by Dorinda. Medoro overhears this confession and enters, declaring his love to Angelica. He feels he is unworthy of her, but she says that he who has gained her heart has the worth of a king. Dorinda returns as Angelica leaves and it becomes clear that it is Medoro whom she loves. He tries to avoid hurting her by maintaining a pretence that Angelica is a relation of his; he will never despise her. Dorinda knows he is not telling the truth, but his words, false as they are, still enchant her.

Zoroastro tells Angelica that he knows of her love for Medoro, and, warning her of the likely revenge of Orlando, says he will keep watch. Orlando appears. Angelica cannot bring herself to tell him what has happened but instead pretends to be jealous and taunts him about the princess Isabella he has just rescued. Zoroastro prevents the untimely approach of Medoro by causing him to be concealed by a fountain as the whole scene is transformed into a delightful garden. Angelica tells Orlando he must prove his faith by never seeing the princess again; he cannot have Angelica's love while there is suspicion in her heart. Orlando says he will obey her, and that he would fight the most terrible monsters to show the strength of his love.

Medoro finds Angelica and demands to know whom she has been talking to. She tells him it is Orlando, and persuades him (with little difficulty) not to fight such a rival. They arrange to meet again. Their parting embrace is seen by Dorinda, who finally forces Angelica to explain that Medoro is now her betrothed lover. She thanks Dorinda for her prevous kindness and gives her a piece of jewellery. Dorinda says she would sooner have had a gift from her beloved Medoro. Medoro begs her to forgive him, but she says she has been hurt in a way that he will never understand. Angelica and Medoro try to comfort her, but she remains inconsolable.

Act II

A wood.

Dorinda finds the melancholy song of the nightingale appropriate to her sadness. Orlando appears and asks her why she has been suggesting that he is in love with the princess Isabella. Confused, Dorinda says she has been misunderstood: she was speaking of Angelica and her new-found love for Medoro. She shows Orlando the jewel she has been given, claiming it came from Medoro. Orlando immediately recognises it as the bracelet from Zilante that he once gave to Angelica. She has betrayed him, he says: surely she has yielded to one of his great rivals? No, says Dorinda, just the young man named Medoro, whose face she sees in every flower; the sounds of stream and forest seem to tell her that he still waits for her. Orlando gives vent to his anger: he threatens to kill himself so that he can pursue Angelica into Hell itself.

On one side a laurel grove, on the other the opening of a grotto.

Zoroastro rebukes Angelica and Medoro for arousing Orlando's anger: is their only course. He warns them that the minds of mortals wander in darkness when they are led by the blind god of love. The lovers are sad to leave. Medoro decides to carve their names on the laurel trees to declare their love to the world. Angelica resolves to return to Cathay with Medoro. Though she is grateful to Orlando for once having saved her life, she believes he will understand that love cannot be compelled by gratitude or reason.

Orlando enters the grove and sees the names of Angelica and Medoro on the trees. He rushes into the grove in pursuit of Angelica. She, however, appears from the grove on the opposite side and sadly bids farewell to the trees and the streams. Orlando, in a towering rage, emerges from the grotto and chases Angelica into the grove. Medoro appears and follows them. Angelica reappears with Orlando in hot pursuit. Zoroastro's magic now intervenes: Angelica is engulfed by a large cloud which bears her away in the company of four genii. Orlando finally loses his reason. He believes that shades from the underworld have taken Angelica from him. He will follow them, becoming a shade himself. He crosses the Styx in Charon's boat and sees the smoking towers of Pluto's kingdom. Cerberus barks at him and the Furies attack him. The greatest Fury of all takes the form of Medoro, who runs into the arms of Proserpine (Pluto's queen). She weeps and Orlando's rage abates as he sees that even in Hell love can arouse tears. He begs the weeping to cease, since his pity has already been obtained; but finally his rage returns - no tears shall prevail against his hard heart. As he runs back ino the grotto it bursts open to reveal Zoroastro on his chariot. The magician gathers Orlando up in his arms and flies off with him.

Act III

A grove of palm trees.

Medoro explains to Dorinda that Angelica has sent him to her for refuge. She is annoyed that he has not come to see her on his own account. He explains that his heart is no longer his to offer. Dorinda is glad that he is no longer deceiving her. Orlando appears and declares his love for Dorinda. She is at first flattered by such nobel attention, but as Orlando becomes more ardent and addresses her as the goddess Venus, it becomes obvious that he is still raving. Suddenly Dorinda becomes identified in his mind with Angelica's brother Argali, murdered by Ferrau, another of Orlando's rivals. He squares up for unarmed combat with Farrau, throwing away his helmet and sword, and leaves.

Dorinda tells Angelica of Orlando's madness. Angelica expresses her pity for him and hopes that he will be able to overcome it. Dorinda delivers her final thoughts on love: it's a wind that sets the brain spinning, bringing as much pain as joy.

Zoroastro appears with his genii and orders them to change the scene to 'a horrid cavern'. He promises to restore Orlando to his former glory. Just as a tempest yields to clear skies, so the faults of those who err will retreat as they are recognised.

Dorinda, in tears, tells Angelica that Orlando has destroyed her house, and buried Medoro in the ruins. Orlando himself appears, addressing Angelica as the sorceress Falerina and threatening to kill her; but she defies him, grief-stricken by the news of Medoro's death. Orlando throws her into the cavern, but as he does so it changes into a beautiful temple of Mars. Orlando claims he has rid the world of all its terrible monsters. A drowsiness comes over him, and believing he has drunk the waters of the river Lethe, he lies down to sleep. Zoroastro appears, declaring the time has come to restore Orlando's senses. He sends for the eagle of Jupiter which, guided by the genii, flies down with a golden vessel in its beak. This contains a liquid which Zoroastro sprinkles over Orlando's face. He awakes, his senses restored. Dorinda tells him he has murdered Medoro in his frenzy. Full of remorse, he decides to kill himself, but Angelica stops him, bidding him to live on. Medoro was in fact saved by Zoroastro, who now implores Orlando to accept the betrothal of Angelica and Medoro. A statue of Mars, with fire burning on an altar, rises as Orlando proclaims victory over himself and hands Angelica to Medoro. He wishes them joy, Angelica and Medoro promise to be true to each other, and Dorinda, inviting them all back to her cottage, says she will forget her sorrows. All join in praise of love and glory.

Arianna in Creta – HWV 32

Opera in 3 Acts Original language: italian

Duration ca. 2 ¾ hours World premiere: 26.01.1734 (King’s Theatre, Haymarket, London)

Libretto after , Arianna e Teseo (1721)

Performer: Orchestra of Patras - , Mata Katsuli (Soprano) – Arianna, Mary-Ellen Nesi (Mezzo Soprano) – Teseo, Irini Karaianni (Mezzo Soprano) – Carilda, Marita Paparizou (Mezzo Soprano) – Tauride, Baka (Mezzo Soprano) – Alceste, Petros Magoulas (Bass) - Minos/Il Sonno Recorded 2005

People: • Arianna (Soprano), Daughter of the Cretan King Minos, is thought to be the daughter of the King of Thebes • Teseo (Alto), Son of the athenian Kinig Egeo, loved in Arianna • Carilda (Alto), a athenian virgin, friend of Arianna, provided as a sacrifice to the Minotaur • Alceste (Soprano), Son of the Athenian King Egeo, in love with Arianna • Tauride (Soprano), Son of Vulcano, the Cretan Army General • Minos (Bass), King of Crete • Il Sonno (Bass), God of sleep • Pallas Athene, warriors, young men and girls from Athens, guards, people

Action:

Many years before the action of the opera, King Minos of Crete waged war on the Athenians and their King Aegeus for having killed his son and abducted his baby daughter. The daughter, however, was brought up by King Archeus of Thebes, an ally of Athens, as his own child. Peace was established with an agreement that every seven years Athens should send as a tribute to Crete seven young Athenian men to be ritually sacrificed, and seven Athenian maidens to be delivered as victims to the Minotaur, a monster (half bull and half man) that lives in the Cretan labyrinth. The requirement for the tribute will be ended only when a hero kills the Minotaur and defeats the Cretan champion Tauride. The time of the third tribute has come, and Teseo, son of King Aegeus, has accompanied the Athenian party to follow his beloved Arianna, who has been called to Crete as surety for the delivery of the tribute.

Act I

The sea-shore of Crete, with a great stone on which the terms of the Athenian tribute are inscribed. The Athenians disembark. Teseo presents them to King Minos, and asks for the release of Arianna. Minos agrees. Tauride reads the terms of the tribute from the stone, but as he does so it shatters, and cupids (symbolising the triumph of love) fly over it. Arianna recognises her friend Carilda among the young women. Tauride, appointed to guard the victims, is struck by Carilda’s beauty. He warns Teseo to be fearful of him. Teseo and Arianna try to comfort Carilda, not realising that her distress is due more to her secret love for Teseo rather than her expected fate. Teseo tells Arianna that he is determined to slay the Minotaur, making her afraid for his life. He is met by Alceste, who has learnt that his beloved Carilda is to be one of the Minotaur’s victims. He thinks it is his duty to save her, but Teseo assures him that he is best suited to the task. Alceste nevertheless believes he will still be her saviour.

A courtyard leading to the temple of Jupiter. Carilda rejects unwelcome advances from Tauride. As Minos arrives with his attendants he notices Alceste and asks who he is. On hearing that he is a Greek, he orders him to draw from an urn the name of the first Athenian maiden to be sent to the Minotaur. Alceste finds he has chosen Carilda, but he secretly assures her that she will be saved. Left alone with her guards, Carilda regrets that she cannot return Alceste’s love, because she loves only Teseo. Minos returns, and accepts Teseo’s offer to go in place of Carilda (thus giving him access to the labyrinth). Distressed and not understanding Teseo’s purpose, Arianna suspects that he has fallen in love with Carilda, but he assures her that he is faithful. Left alone, Arianna finds rage and love at war within her heart.

Act II

A wood, with the temple of Hercules in the distance. Teseo reflects on his dilemma: to comfort Arianna, or to continue with his plan to kill the monster. He falls asleep. The God of Sleep appears in a cloud, presenting a vision of Teseo’s destiny. As the vision vanishes, Teseo suddenly wakens from a dream of fighting the Minotaur, his doubts resolved. Alceste appears, now suspecting that Teseo is in love with Carilda. Teseo assures him that Arianna is his only love. He tells Alceste the secret of her birth which he has learnt from his father - that she is the daughter of Minos - and says he is determined to marry her and end the conflict between Athens and Crete. Alceste tells Arianna that Teseo will not be dissuaded from his plan, and implies that it is love for Carilda that is inspiring him. Arianna is distraught, but her love for Teseo remains firm. In a conversation overheard by Arianna, Minos warns Tauride that Teseo is a worthy champion, but Tauride reminds him that Teseo cannot succeed without knowing the secret obstacles that he must overcome: the Minotaur must be pierced through the throat; the labyrinth must be navigated by means of a thread; and Tauride is protected by a magic belt. Arianna leaves to pass this information to Teseo, while Tauride boasts of his valour.

Carilda, still under guard, is brought in. Tauride tries to abduct her, but is dismissed by Arianna. The two women converse at cross-purposes: Carilda talks of the Athenian who loves her, meaning Alceste, but Arianna assumes she means Teseo. She nevertheless assures Carilda she will help her, and Carilda asks her to tell Teseo that she is grateful to him for saving her. When Teseo appears, Arianna accuses him of being a treacherous liar, having learnt ‘the secret’ (meaning Teseo’s supposed love for Carilda) from Alceste. Teseo however assumes that Alceste has told Arianna of her true parentage, and that she hates him for being the son of Aegeus, her real father’s enemy. Despite her resentment, Arianna gives Teseo a paper on which she has written what he must do to be victorious. He therefore remains confident of her love.

A courtyard before the gate of the labyrinth. Tauride makes another attempt to abduct Carilda, warning her she must marry him or die. She is met by Alceste, who begs her to escape with him, comparing himself to a friendly guide helping a traveller. They leave, and sounds of clashing weapons are heard as Alceste overcomes the guards. Arianna and Teseo re-appear. Arianna tells him to join Carilda in Athens while she returns to her native Thebes. Teseo thus realises that Arianna is still unaware of her origins, but he cannot now understand her accusations. Minos enters, enraged that Carilda has escaped. Tauride reports that two of the Cretan guards have been killed. Teseo and Arianna are accused of the crime, and Minos orders Arianna to take Carilda’s place in the labyrinth. He claims he acts justly. Teseo, still intent on his plan, remains silent, to Arianna’s distress. Left alone, she laments her fate.

Act III

Within the labyrinth. Carilda learns from Alceste that Teseo truly loves Arianna, and is thus her rival in love, whom she is unlikely to displace. She now begins to feel some pity for Alceste. He is delighted at the hint of a change of heart.

A dark passage inside the labyrinth, appointed for the victims of the Minotaur. Teseo, guided by the thread, has reached the part of the labyrinth where the monster has its lair. He confronts it, and kills it by thrusting his sword through its throat. As he comes away, he is met by Arianna, believing she is to be a victim of the monster. Teseo tells her that he has killed it, and will now take on Tauride. He assures her of his love, and she, though still doubtful, is placated.

A courtyard in the royal palace. Despite Teseo’s triumph over the Minotaur, Tauride confidently prepares to meet him in combat. Teseo however strips him of his magic belt and swiftly overcomes him. Minos announces that the Athenian tribute is no longer required. Teseo asks him for his consent to marry Arianna. Minos says he is willing, if her father is, and Teseo then reveals that Minos is her true father, to his and Arianna’s delight. Arianna and Teseo rejoice in their newly assured happiness.

A royal hall. Before the people of Crete, Arianna and Teseo pledge their mutual faith, and Carilda accepts Alceste as her husband. Teseo leads the final celebration of love and peace.

Ariodante – HWV 33

Opera in 3 Acts Original language: italian

Duration ca. 3 ¼ hours World premiere: 8.01.1735 (Theatre Royal, Covent Garden, London)

Libretto byAntonio Salvi, Ginevra, Principessa di Scozia (1708) after , (1516)

Performer: Les Musiciens du Louvre - , Grenoble Chorus, Anne Sofie von Otter (Mezzo Soprano) - Ariodante, Veronica Cangemi (Soprano) - Dalinda, Ewa Podles (Alto) – Polinesso, Denis Sedov (Bass) - Re di Scozia, Luc Coadou (Bass) - Odoardo, Richard Croft (Tenor) – Lurcanio, Lynne Dawson (Soprano) - Ginevra Recorded 1997

People: • Ariodante (Mezzo Soprano), a Royal vassal • Ginevra (Soprano), Daughter of the King of Scotland, betrothed to Ariodante • Dalinda (Soprano), Servant of Ginevra, secretly in love with Polinesso • Polinesso (Alto), Duke of Albany, ariodante's rival • Lurcanio (Tenor), Ariodante's brother • Il Re die Scozia (Bass), King of Scotland • Odoardo (Tenor), the King's minion • Courtiers and peasants (Chorus and Ballet)

Action:

Act I

The mutual love of the Princess Ginevra and Prince Ariodante has the full approval of her father, the King of Scotland. As the opera begins, she is confiding her feelings to Dalinda when Polinesso, Duke of Albany, who covets the throne, bursts into her room and makes advances to her, which she forcefully rejects. Dalinda tells him that Ginevra's heart is already bestowed, but confides that she herself is not indifferent to him. A plot thereupon forms itself in Polinesso's mind to make use of her to be revenged on Ginevra and gain his ends.

Meanwhile, in the royal gardens, Ariodante and Ginevra, exchanging vows, are given the blessing of the King, who intends to make Ariodante his successor.

Polinesso persuades Dalinda to dress up as Ginevra and admit him to her room that night: he promises to respect her honour and make her his wife. Dalinda is overjoyed, and when Ariodante's brother Lurcanio appears and declares his love for her, she quickly evades him. Left alone, Lurcanio reflects on his love for Dalinda. She in turn reflects on her love for Polinesso.

The act ends with the betrothed royal couple expressing their happiness and calling upon the nymphs and shepherds to celebrate their joy in dance and song.

Act II

That night Ariodante, unable to sleep for excitement, is walking in the royal gardens when he encounters Polinesso, who feigns surprise at the news of the forthcoming marriage and claims to be enjoying Ginevra's favours. When Ariodante furiously reaches for his sword at these outrageous words, Polinesso promises to substantiate his charge: he tells him to hide and observe with his own eyes. Lurcanio, who has been surprised to see his brother talking with the disliked Polinesso, had also concealed himself and is watching events.

Polinesso knocks on the secret door to the royal apartments, and in answer to his signal Dalinda, disguised as Ginevra, lets him in and closes the door. Ariodante, horrified at this apparent betrayal, is about to kill himself by falling on his sword when Lurcanio, who has also been duped, rushes forward and prevents him throwing away his life for a worthless woman. Ariodante goes off in utter despair; Polinesso, swearing devotion to Dalinda, gloats over the success of his ruse.

The following morning the King is in council, about to declare Ariodante his heir, when Odoardo brings a report that the Prince has thrown himself into the sea in a sudden frenzy and has drowned. The King hurries to break the news to Ginevra, who collapses in shock. His own grief is heightened when Lurcanio, accusing Ginevra of unchaste behaviour that drove his brother to his death, demands justice in the lists: he will fight anyone who offers to champion her cause. The King disdainfully declares that a wanton is no longer his daughter. Ginevra, bewildered at the charge and at his rejection of her, goes out of her mind.

Act III

Polinesso has hired two assassins to silence Dalinda. They set about her in a forest, but Ariodante, who has been wandering about aimlessly and dejectedly, chances to be there and beats them off. She is amazed to see him alive, and he is equally astonished to learn from her of the trickery of which he was the victim, and which she now sees involved her own death. He sets out immediately for the palace with her.

The King has refused even to see his daughter until a champion for her can be found. Polinesso, with an eye to succession to the throne if he is successful, offers himself. Though Ginevra refuses his aid, her father insists on his acceptance.

Polinesso meets Lurcanio in public combat and is felled by a mighty blow. Lurcanio, still burning to avenge his brother's supposed death, challenges any further champions of Ginevra, and the King himself is about to enter the lists to retrieve his family honour when a knight whose face is hidden by his closed visor appears for her defence. Lurcanio tells him to prepare for combat, but the knight raises his visor and, to general astonishment, reveals himself as Ariodante. He offers to explain all if the King will pardon Dalinda for her unwitting part in the deception; Odoardo brings news that Polinesso, as he lay dying, has confessed his treachery. The King at once hastens to his daughter with the happy news, and Dalinda, repenting her former love as well as the deception into which it lead her, now gladly accepts Lurcanio's renewed wooing.

Ginevra, in the apartment to which she has been confined, is giving way to despair when the King joyfully arrives to tell her she is vindicated: he frees her, embraces her, and reunites her with Ariodante. She is astonished and raptured to find him alive after all, and the opera ends with general rejoicing in the great hall of the palace.

Alcina – HWV 34

Opera in 3 Acts

Original language: italian

Duration ca. 3 ¼ hours

World premiere: 16.04.1735 (Theatre Royal, Covent Garden, London)

Libretto by Riccardo Broschi L'isola di Alcina (1728) after Ludovico Ariosto, Orlando furioso (1516)

Performer: Il Complesso Barocco - Alan Curtis, Joyce DiDonato (Mezzo Soprano) – Alcina, Maite Beaumont (Mezzo Soprano) – , Sonia Prina (Contralto) – , Karina Gauvin (Soprano) – Morgana, Kobie van Rensburg (Tenor) – Oronte, Vito Priante (Bass) – Melisso, Laura Cherici (Soprano) - Oberto Recorded 2009

People: • Alcina (Soprano), a sorceress • Ruggiero (Mezzo Soprano), a Knight • Morgana (Soprano), Alcina‘s sister • Bradamante (Alto), Ruggiero’s bride, disguised as her own brother “Ricciardo” • Oronte (Tenor), Commander of Alcina, Morgana's lover • Melisso (Bass), Bradamante‘s of familiar • Oberto (Soprano), Son of Paladin , looking for his father • Ladies, bellboys, maids, young Knight, retail, spirits of the underworld (Chorus and Ballet)

Action:

The setting of the opera is the enchantress Alcina's island: here by her magic powers she has created a magnificent palace in a beautiful landscape, to lure her many lovers into her power. One of these is Ruggiero, a warrior, who under Alcina's spell has forsaken his duty and his betrothed, Bradamante.

Act I

The opera begins with the arrival of Bradamante (disguised as her own brother Ricciardo) and Melisso (her former tutor) on the sea shore. With the help of a magic ring they intend to break the spell which binds Ruggiero to Alcina, and to release her other captives, who have been variously transformed. Bradamante and Melisso are greeted by Alcina's sister, Morgana (also an enchantress) and pretend to have lost their way. Morgana immediately falls in love with 'Ricciardo' (Bradamante), although she is betrothed to Oronte, the commander of Alcina's forces.

The scene changes to Alcina's palace, where she sits in splendour. She greets the strangers, and lavishly expands on her love for Ruggiero, asking him to show her guests her palace and estates. When she has gone, the boy Oberto asks Melisso and Bradamante to help him to find his father, Asotlfo; it is clear to them (though Oberto is ignorant of it) that he must have been changed into a wild beast, like so many others.

Melisso and Bradamante, finding themselves alone with Ruggiero, tax him with his desertion, but he treats them with contempt; he longs only for Alcina's return, and leaves them.

Oronte, Morgana's lover, has already discovered her new passion for 'Ricciardo', and now challenges 'him'. Morgana hurries in to intercede, spurning Oronte, and defending 'Ricciardo'. Later, Oronte meets Ruggiero still looking for Alcina; and in malevolent mood, decides to reveal to him Alcina's treatment of her past lovers. When Ruggiero refuses to believe in her infidelity, Oronte invents a passion on Alcina's part for 'Ricciardo' to convince him. On finding Alcina, Ruggiero confronts her wih this supposed love; she strongly denies it, and reaffirms her love for Ruggiero, in Bradamante's presence. After Alcina's departure, Bradamante cannot resist revealing her identity to Ruggiero, though Melisso quickly denies it. Ruggiero chooses to believe Melisso, and assuming 'Ricciardo' to be trying to conceal 'his' love for Alcina, boasts that her affections are his alone, and departs.

Morgana comes in with the news that Alcina intends to prove her love to Ruggiero by turning 'Ricciardo' into a wild beast; Morgana urges 'him' to escape, but 'Ricciardo' (Bradamante) tells her to go back to Alcina to say that 'he' cannot love her, as 'he' loves another; when Morgana assumes that this refers to her, Bradamante allows the deception, and withdraws. Morgana concludes the act with rejoicing in 'Ricciardo's' love.

Act II The second act brings the almost immediate revelation to Ruggiero that he is the victim of enchantment. After lamenting Alcina's absence, Ruggiero is confronted by Melisso, now disguised as his old tutor, Atlante. Ruggiero is sternly reminded of his duty, and when Melisso/Atlante puts the magic ring on his finger, the island is revealed as it really is, empty of all grandeur and beauty. He immediately longs to see Bradamante, and repair the damage caused by Alcina. Melisso, now himself again, tells him of the plans for escape. Ruggiero is to put on his armour, and pretending to long to hunt in the forest, make his escape. Although he is now free of the enchantment, he still mistrusts Alcina; and at his next meeting with Bradamante he cannot be sure that Alcina has not disgusied herself as Bradamante to keep him in her power. Bradamante is in despair; Ruggiero, left alone, fears for the consequences if, after all, he has again failed Bradamante.

Morgana interrupts Alcina as she prepares to utter the spell which will turn Bradamante into a wild beast. She is followed by Ruggiero, who, without revealing that he no longer loves her, convinces Alcina that he desires nothing so brutal to convince him of her love. He then persuades her, against her will, to let him go hunting.

Oberto reappears, still lamenting his father's disappearance; Alcina is moved, and offers him hope of reunion.

Oronte now brings news of the intentions of Ruggiero, Melisso and Bradamante to flee, and Alcina laments her fate. Although Oronte taunts Morgana with 'Ricciardo's' defection, she refuses to believe him. Bradamante next appears, with Oberto, and swearing him to secrecy, tells him of her power to break Alcina's spells, and thus release his father.

Bradamante and Ruggiero are now at last united; Morgana overhears them, and is outraged to find that 'Ricciardo' is Bradamante, and that Alcina has been betrayed by Ruggiero. The act concludes with Alcina's vain attempts to summon her spirits to prevent Ruggiero's flight, and she throws away her wand in despair.

Act III The last act opens with Morgana's efforts to regain the affections of Oronte. As he swore to do earlier, he rebuffs her; but when she has gone, he admits that he still loves her. Ruggiero and Alcina unexpectedly meet, and she demands to know why he is leaving her. When he tells her that he must return to his duty and his betrothed, she contemptuously dismisses him, swearing vengeance.

Melisso, Bradamante and Ruggiero prepare to rout Alcina's forces with the magic ring and shield; Bradamante swears to leave the island only when all Alcina's victims are released.

Oronte next informs Alcina that her navy has indeed been defeated at the hands of Ruggiero; aside, he expresses satisfaction that Alcina is at last going to pay dearly for her cruelty. Alcina, in despair, longs for oblivion. When Oberto reminds her of her promise to reunite him with his father, she maliciously brings a lion out of its cage, and orders Oberto to kill it with her dagger. He knows it must be his father and, refusing, threatens her instead, before retreating with the dagger.

The final stage begins with Ruggiero and Bradamante approaching an urn, source of all Alcina's magic power, intending to destroy it. In an attempt to prevent them, Alcina forswears any evil intentions, claiming only desire for their happiness. She offers to break the urn herself; but she has lost all hope of being trusted, and Ruggiero duly shatters the enchanted urn. Alcina and Morgana rush away, lamenting their doom.

The end of Alcina's magic powers causes the palace to be ruined and submerged by the sea. Alcina's bewitched lovers are revived, Oberto and Astolfo are reunited, and all sing of their relief and joy.

Atalanta – HWV 35

Opera in 3 Acts Original language: italian

Duration ca. 2 ½ hours World premiere: 16.04.1735 (Theatre Royal, Covent Garden, London)

Libretto after Belisario Valeriano, La Caccia in Etolia (1715)

Performer: Capella Savaria - Nicholas McGegan, Savaria Vocal Ensemble, Katalin Farkas (Soprano) – Atalanta, Eva Bártfai-Barta (Soprano) – Meleagro, Eva Lax (Contralto) – Irene, Lanos Bándi (Tenor) – Aminta, Jozsef Gregor (Bass) – Nicandro, Laszlo Polgár (Bass) - Mercury Recorded 1985

People: • Atalanta (Soprano), Princess of Arcadia, under the name "Amarilli", mistress of Meleagre • Meleagro (Soprano), Under the pseudonym "Tirsi", lovers of Atalantas, King of Aetolia • Irene (Alto), a female mistress of Amintas • Aminta (Tenor), a shepherd, Irene's lover • Nicandro (Bass), Irene's father and Meleager of confidant • Mercurio (Bass) • Hunters, shepherds, peasants Action:

Act I

King Meleagro of Aetolia, who lives the carefree life of the shepherds under the psudonym Tirsi, is looking for his sweetheart, Atalanta. He meets the shepherd Aminta and they complain of their lovers' cruelty. Then the shepherdess Irene, Aminta's beloved, appears. She scolds Aminta bitterly, and Meleagro supports him in vain. When Irene and Aminta are left alone, she continues to rebuke him. Aminta replies defiantly, that if it gave the girl pleasure, he would chose death without hesitation, but even in his death he would remain faithful to her.

Then Irene's father Nicandro, who is also Meleagro's confidant, appears. It emerges from their conversation that Irene also loves Aminta, but that she wants to put his fidelity to the test. Nicandro warns his daughter not to be too cruel. Left alone, Irene relates in song that her lover, whom she compares to a dove, will have to yearn a great deal before the hour of consummation arrives.

Princess Atalanta of Arcadia appears, who is posing as a shepherdess called Amarilli. The company prepares to go hunting, but Atalanta does not allow Meleagro to remain at her side and protect her, even though she confesses to herself that she loves the youth. Aminta enters, and true to his decision, wants to throw himself before the approaching boar, but he is held back by the other shepherds. Atalanta finally wounds the boar, and then sings that although she has been victorious, she is still worried about the struggle to come.

Later Meleagro remians alone and we learn from him that amid fear and doubt he still entertains a constant hope.

Act II

The shepherds are celebrating, but Atalanta draws aside and broods over her hapless love. Meleagro overhears her and learns that the royal princess in disguise does not dare to show her true feelings because she does not know that Tirsi is in fact King Meleagro. Atalanta sings an aria about her woes; Meleagro comes up to her and wishes to clear up the situation, but both are so shy that they express themselves too obscurely, thus it is not made apparent that there are no obstacles to their love. Atalanta departs.

Irene enters and pretends to confess love for Meleagro, but only as another means of torturing Aminta. Meleagro asks her to take his present of a ribbon to Atalanta, and even persuades her to intercede with Atalanta on his behalf. After Irene has left, Meleagro, alone, confesses that Irene has importance for him only as long as she helps him conquer Atalanta.

Now again we see Irene, who pretends not to notice that she is being watched by Aminta and also pretends that Meleagro has given her the ribbon as a gift. Aminta appears and calls her to account for all that has happened. Irene departs and Atalanta enters. She asks Aminta to give a present of an arrow to her love, Meleagro, but without mentioning her name to him. Aminta wants to send bitter reproaches to Irene by her, but himself shrinks back from the weight of his words, and hope gains the upper hand again.

He departs and Meleagro enters. Atalanta rejects him scornfully. The young man, who knows his beloved one's secret, sings an aria which is playful rather than desperate, and then departs. Left to herself, Atalanta is more grieved still that although she is in love with all her heart, she must still feign coldness.

Act III

Irene presents Atalanta with the ribbon that Meleagro has sent. Again in a somewhat obscure way, Atalanta sends word to Meleagro that he can learn all about her from Aminta. But despite her uncertainty, she too is hopeful.

Irene now encounters Aminta, who has the arrow Atalanta has sent Meleagro. In an unexpected turn of events he decides to make Irene feel jealous by telling her that he loves Amarilli-Atalanta and that he has received the arrow from her. Irene walks into the trap, and Aminta immediately snubs her. Meleagro has heard all and now steps forward. Irene tells him that she has only feigned love for him and that she really loves Aminta; both, however, believe that Atalanta is burning with love for Aminta too. Irene becomes almost mad with jealousy. Meleagro, when left alone, is again seized with despair, but then falls asleep.

Atalanta arrives. She muses over the fact that the ribbon which she believes she has received from Tirsi closely resembles the ribbon of the king, Meleagro. She notices Meleagro, who is tossing about even in his sleep, and she prays that he may be calmed. Suddenly the young man wakes up; Atalanta is unable to keep her secret any longer and confesses her feelings. The lovers are united in a blissful embrace.

Nicandro also arrives with Irene and Aminta, who have meanwhile made it up. Nicandro reveals the identity of the two disguised royal lovers, and the couple start singing a happy duet.

At this point the god Mercury, surrounded by Graces and Cupids, descends on a cloud as the messenger of Jupiter to give his blessing to the earthly marriage and sound the praises of the future ruler of the British peoples, predicting a happy future for him surrounded by his loving subjects. Finally the people, the chorus, glorify the young couple. The opera ends amid general cheering, jubilation, fireworks and bonfires.

Arminio – HWV 36

Opera in 3 Acts Original language: italian Duration ca. 2 ½ hours World premiere: 12.01.1737 (Theatre Royal, Covent Garden, London) Libretto after Antonio Salvi, Arminio (1703)

Performer: Il Complesso Barocco - Alan Curtis, Vivica Genaux (Mezzo-Soprano) – Arminio, Geraldine McGreevy (Soprano) – Tusnelda, Dominique Labelle (Soprano) – Sigismondo, Manuela Custer (Mezzo Soprano) – Ramise, Luigi Petroni (Tenor) – Varo, Sytse Buwalda (Counter Tenor) – Tullio, Riccardo Ristori (Bass) - Segeste Recorded 2000

People: • Arminio (Alto), a Prince of the Cherusci • Tusnelda (Soprano), his wife, Segeste‘s daughter • Sigismondo (Soprano), Son of Segeste, in love with Ramise • Ramise (Alto), Sister of Arminio • Varo (Tenor), Roman general, Governor of Germania • Segeste (Bass), a Prince of the Cherusci, ally of Varo • Tullio (Alto), Roman Tribune of the people • Roman and Germanic leaders, warriors, guards, people

Action: The opera is based loosely on the events of the Roman invasion of Germany in the year 9AD.

Act I Arminio retreats from the battlefield as his wife Tusnelda begs him to flee the invading Romans so that he can live to fight another day. Although at first reluctant, Arminio agrees when Tusnelda fears they might both be captured. Varo enters with the tribune Tullio. Tullio reports on the departure of Arminio, and Varo reveals that he loves Tusnelda. Tullio tells him to abandon such romantic hopes and fight instead for honour and glory. Varo responds by telling him that love can inspire a man to act with honour. Arminio is now brought in as a captive of Segeste, another German prince, and Tusnelda's father. Arminio upbraids Segeste for his betrayal of both his country and his family. Tusnelda considers the dilemma of conflicting loyalties, and departs. Varo demands Arminio's subjection to Rome, but he proudly resists and prefers death. He is led away defiantly and Segeste insists that unless Arminio submits he will be killed, as there will never be peace with Rome while Arminio lives. In Segeste's castle, his son Sigismondo contemplates the meaning of his dreams. He is in love with Ramise, Arminio's sister, who now enters with Tusnelda. Tusnelda tells them of Segeste's treachery, and Ramise leaves in despair for her brother's fate. Sigismondo turns to Tusnelda for sympathy, but she points out that her own troubles are even worse than his, torn as she is between her love for her father and her husband. Segeste enters and tells his son to give up all hopes of his love for Ramise. Sigismondo refuses to accept this, and says he would rather die than live without love.

Act II Segeste learns of Varo's love for his daughter Tusnelda, and looks forward to their union once Arminio is dead. Varo presents Segeste with a letter from the Roman Emperor Augustus, demanding the execution of Arminio to complete Rome's triumph over the Germans. Segeste looks forward to carrying out this order. Once more Arminio faces demands to recognise Rome's victory, and again he refuses. He will face death without fear, but Segeste will have to live with the shame of betraying his country. Arminio is dragged away to prison to await his death. Tusnelda enters in distress, and Segeste advises her to save her husband by persuading him to change his mind, but she refuses. Ramise now enters and abuses Segeste, before lunging at him with a dagger. But she is disarmed by Sigismondo, leaving Segeste even more determined to execute Arminio. Ramise now berates Sigismondo for thwarting her attempt on Segeste, but he says he cannot stand by to see his own father killed. He takes the knife and attempts to stab himself, but Ramise instinctively stops him. Confused by her divided loyalties, she leaves. In prison, Arminio tells Varo that he has known about his love for Tusnelda, and to their surprise hands her to Varo. He leaves them, prepared to face his death. Tusnelda tells Varo that the only way he can please her is by saving Arminio. He leaves to do this, and Tusnelda reflects that in doing so he will save two lives and earn her gratitude.

Act III Arminio is led to the place of execution but is not intimidated into recognising Rome's victory. His death, he hopes, will deal a fatal blow to Roman pride. Varo, to Segeste's surprise, has Arminio's chains removed so that he can die as a soldier on the battlefield. Tullio arrives with news of a Roman defeat at the hands of another German prince, and Varo orders Arminio's return to prison as he returns to the battelfield. Despite his incarceration, Arminio is given hope by the Roman defeat. Varo leaves Segeste to defend the castle. Elsewhere in the castle, Tusnelda has decided on suicide. She firstly contemplates Arminio's sword, but choses instead to take poison. As she is about to drink Ramise enters and stops her. She tells Tusnelda that while Arminio still lives they have a duty to save him and revenge his captors. They go to Sigismondo and ask him to release Arminio. When he refuses they threaten suicide - Tusnelda with the poison and Ramise with the sword. Sigismondo stops them both, and exits still confused by his conflicting loyalties. The two women comfort each other in their despair, but are interrupted by Arminio who is now free from prison. Sigismondo returns with Arminio's sword, which he has previously snatched from Ramise. He gives the sword to Arminio who rushes off to engage the Romans in battle, followed by Tusnelda. Ramise is concerned for Sigismondo's safety when Segeste discovers what he has done, and entreats him to flee. But Sigismondo decides to stay and face his father. Segeste now enters and vents his fury on Sigismondo, who offers his father his own sword to kill him. To defend him, Ramise claims that it was her who released Arminio. Segeste has them both put in chains and storms off, and Sigismondo and Ramise are taken away by the guards. Tullio tells Segeste that Varo has been defeated by Arminio and is dead, and that his own castle has been taken. Tullio suggest that they flee, while Sigismondo stays to defend his father, who dismisses him as a traitor. Arminio enters with Tusnelda and disarms Segeste. Sigismondo and Arminio beg Segeste to end his anger, and offer to spare his life if he does. Overcome by their virtuous offer, Segeste agrees and embraces Arminio. Arminio gives his sister Ramise in marriage to Sigismondo and all join in a final chorus of rejoicing. Giustino – HWV 37

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 16.02.1737 (Theatre Royal, Covent Garden, London)

Libretto after Nicolò Beregan, Giustino (1683) and Pietro Pariati (1711)

Performer: Freiburger Barockorchester - Nicholas McGegan, Kammerchor Cantamus - Dorothea Köhler, Michael Chance – Giustino, Dorothea Röschmann – Arianna, – Anastasio, Juliana Gondeck – Fortuna, Dean Ely - Polidarte & Voce di Dentro, Jennifer Lane – Leocasta, Mark Padmore – Vitaliano, Drew Minter - Amanzio Recorded 1994

People: • Giustino (Alto), a farmer • Anastasio (Soprano), Roman Emperor • Arianna (Soprano), Widow of Emperor Zeno, now wife of Anastasio • Leocasta (Alto), Sister of Anastasio • Amanzio (Alto), General of Anastasio • Vitaliano (Tenor), Commander of Ostrom, "Tyrant of Asia minor" / • Polidarte (Bass), an officer Vitaliano‘s • La Fortuna (Boys Soprano) • Court of the Emperor, warriors, servants, people

Action:

Act I In Constantinople, the widowed empress Arianna is crowning her new husband, Anastasio, as her consort. The ladies and knights of the court hail the dawning of a new Golden Age. But the celebrations are interrupted by the arrival of Amanzio, the General of the Imperial Army, with news that they are in danger from the rebel Vitaliano. Anastasio instinctively rises from his throne to enter the field against the rebels, but Arianna holds him back.

Polidarte, a messenger from Vitaliano, arrives with the rebel's demands: Arianna must be surrendered to him and become his wife. Anastasio sends Polidarte back with an angry refusal, and sets off for battle. Left alone, Arianna resolves to follow him to the conflict.

In the fields, Giustino plows the land but aspires to become a soldier. He falls asleep, and in a dream Fortune appears to him and tells him to realise his ambition, for a throne and palace await him. As Fortune and her Wheel disappear, Giustino awakes and prepares for battle.

Suddenly a woman rushes in pursued by a bear. Giustino kills the bear and saves her. She introduces herself as Leocasta, Anastasio's sister and, observing Giustino's noble nature and feeling the first stirrings of love, she invites him to accompany her to the palace. Arianna follows her husband into battle and is captured by the rebels. At the palace Giustino is immediately welcomed as Anastasio's champion, and sent to prove himself by rescuing Arianna.

In the rebel camp Polidarte brings Arianna to Vitaliano. When she rejects his amorous advances he furiously sends her to be thrown to a sea monster that has been terrorising the countryside. Arianna bemoans her fate and declares her faithfulness to her husband.

Act II The ship carrying Anastasio and Giustuino is wrecked in a storm but they struggle to the shore. They seek shelter in a nearby cottage.

Poldarte enters with Arianna. He gives her one last chance to relent, but she refuses and he leaves her chained to a rock. The sea monster rises from the waters and approaches her. Giustino hears her cries and rushes out to do battle with the monster. He is victorious and releases Arianna. Anastasio joins them and is delighted to be reunited with his wife. He thanks Giustino for his courage. Amanzio arrives and they all leave the shore, accompanied by the voices of the sailors

Regretting his rash action, Vitaliano arrives to save Arianna but discovers the dead sea monster. Not knowing whether she is alive or dead he sets out to find her. In the palace garden Leocasta sings of her love for Giustino. The victorious Anastasio enters with Amanzio, followed by Giustino dragging Vitaliano, who he has captured, in chains. Anastasio once again thanks Giustino for his courage. Amanzio grows jealous of the simple ploughman who has won such a victory. Giustino suggests that Arianna should decide Vitaliano's fate, and the rebel is dragged away. Giustino is sent back into the field by Anastasio to complete the defeat of the rebels, and he celebrates his growing reputation.

Vitaliano is brought before Arianna, and begs for one look of love before he dies. She contemptuously refuses and has him imprisoned until the time set for this execution. Act III

Vitaliano escapes from his prison with the help of his friends. He thanks them and sets off to plot his revenge. Amanzio starts to sow seeds of suspicion in Anastasio's mind regarding Giustino. He gives Anastasio a sash encrusted with jewels that he has taken from Vitaliano. Concerned that Giustino might make an attempt on his throne and his wife, Anastasio sends Amanzio to keep watch on Giustino. Overheard by Amanzio, Arianna praises Giustino's courage and gives him the jewelled sash that her husband has given to her. Amanzio leaves secretly to tell Anastasio, who is angry at what he hears. He confronts Giustino and Arianna, but will not hear their explanation. He sends Giustino off to be executed, and banishes Arianna. Leocasta suspects that Amanzio is a traitor, and worries that her growing love for Giustino will be in vain. Amanzio delights in the successful outcome of his plans.

Thanks to Leocasta's intervention Giustino has been saved from execution, but is now an exile. He scorns Fortune who had promised him a throne and kingdom, and falls exhausted to the ground. Vitaliano enters and, finding the sleeping Giustino asleep raises his sword to kill him in revenge for his previous captivity. But suddenly the mountainside splits open and the voice of Vitaliano's dead father warns him that he is about to murder his own brother. Vitaliano looks for the distinctive mark of his family - a star on the left arm - and finding it wakes Giustino and reveals their kinship. Vitaliano agrees to join Giustino in his desire to reveal Amanzio's treachery and restore Arianna to Anastasio.

In a Pleasure Garden, with a great Temple of Fortune, Amanzio mounts the throne with a laurel crown on his head. He celebrates his victory as Anastasio, Arianna and Leocasta are led in in chains. Giustino, Vitaliano and Polidarte rush in with their troops and Amanzio tries to flee. But Giustino captures him and sends him off to be executed. He releases the others from their chains and goes to kneel to Anastasio, who raises him up and embraces him. Anastasio is reunited with Arianna, and begs forgiveness for his error. Giustino pleads on behalf of his brother, Vitaliano, who is forgiven. Anastasio makes Giustino his co-regent, and offers his sister Leocasta in marriage to him.

All celebrate the happy outcome of events, and join in a final chorus welcoming a new Age of Gold.

Berenice, Regina d'Egitto – HWV 38 ( Berenice, Queen of Egypt )

Opera in 3 Acts Original language: italian

Duration ca. 2 ¾ hours World premiere: 18.05.1737 (Theatre Royal, Covent Garden, London)

Libretto after Antonio Salvi, Berenice, regina di Egitto (1709)

Performer: Il Complesso Barocco - Alan Curtis, Klara Ek (Soprano) – Berenice, Ingela Bohlin (Soprano) – Alessandro, Franco Fagioli – Demetrio, Romina Basso (Mezzo Soprano) – Selene, Mary-Ellen Nesi (Mezzo Soprano) – Arsace, Vito Priante (Bariton) – Aristobolo, Anicio Zorzi Giustiniani (Tenor) - Fabio Recorded 2010

People: • Berenice (Soprano), Queen of Egypt (Berenice III.), in love with Demetrio • Alessandro (Soprano), Son of Tolomeo X. Alessandro I., hought to Berenice • Demetrio (Alto), a Prince, in love with Selene • Selene (Alto), Sister of Berenice • Arsace (Alto), an ally Prince,loves Selene • Fabio (Tenor), Roman Ambassador • Aristobolo (Bass), Councilor of Berenice, Captain • Court of the Queen, dignitaries, Roman Embassy, warriors, guards, servants, slaves, people

Action: - Alexandria, 80 BC

Act I Queen Berenice attends the Roman ambassador Fabio. Fabio informs her that the Senate wishes her to wed the young Roman noble Alessandro who accompanies him. But Berenice is betrothed to Prince Demetrio, and refuses to be instructed in this matter; Alessandro is instantly smitten. Yet he refuses to press Rome's suit on his own behalf, declaring that Berenice must offer him her hand herself. Prince Demetrio actually loves Selene, the Queen's sister. In order to thwart Berenice and set his beloved on the throne, Demetrio has plotted with an Egyptian enemy to overthrow the Queen. Aristobolo, head minister, announces that because Berenice spurns Rome's offer, Alessandro must now seek Selene's hand. Berenice determines to thwart this plan, and tricks Selene into agreeing to a union with Prince Arsace.

Act II Ambassador Fabio predicts Roman conflict with Egypt. Selene defends herself to her lover, claiming she is only using Arsace to ultimately win Demetrio and defeat her sister. Demetrio again reveals his secret activities. The Queen overhears this and discovers the secret love affair; she summons her guards to take Demetrio away. Even after Arsace offers to relinquish Selene to Alessandro to spare warfare, Alessandro refuses; he longs only for Berenice. Demetrio is brought before the Queen, but defies her. Love alone, love for Selene inspires him. The Queen is furious. Act III The Queen is presented with letters confirming Demetrio's treachery; now nothing stands in the way of his execution. In a dazed state, she removes the royal signet ring from her finger, and gives it to Fabio. Whoever returns it, she says, may claim her. He gives the Queen's ring to Alessandro. Selene promises Arsace her hand if he can win Demetrio's freedom. Arsace asks Alessandro's help in freeing Demetrio. Arsace determines to convince the Queen of the Roman's true love for her. Berenice is prepared to kill herself, but first wants to see Demetrio executed. Both Selence and even Arsace beg for mercy for Demetrio. The Queen's ring is returned, but Alessandro still refuses to press a claim for her hand. The Queen is moved. In a sudden impulse, she offers herself and her throne to Alessandro. Demetrio is pardoned; Prince Arsace generously renounces his own claim on Selene, and all the lovers are united.

Faramondo – HWV 39

Opera in 3 Acts Original language: italian

Duration ca. 2 ¾ hours World premiere: 3.01.1738 (King’s Theatre, Haymarket, London)

Libretto after Apostolo Zeno, Faramondo (Venedig, 1698)

Performer: I Barocchisti - , Coro della Radio Svizzera Lugano, Max Emanuel Cencic () – Faramando, (Countertenor) – Adolfo, Sophie Karthaüser (Soprano) – Clotilde, Marina De Liso (Mezzo Soprano) – Rosimonda, In-Sung Sim (Bass) – Gustavo, (Countertenor) – Gernando, Fulvio Bettini (Bariton) – Teobaldo, Terry Wey (Countertenor) - Childerico Recorded 2009

People: • Faramondo (Soprano), King of the salian Franks • Clotilde (Soprano), his sister • Gustavo (Bass), King of the Cimbri • Rosimonda (Alto), his daughter • Adolfo (Soprano), his on • Gernando (Alto), King of the Suebis • Teobaldo (Bass), Commander of the Cimbri • Childerico (Soprano), his alleged son, in truth the son of Gustavo • Warrior, people, messenger, servant / Krieger, Volk, Boten, Diener

Action:

Act I Before an altar in a cyprus grove Gustavo, King of the Cimbrians, performs a solemn sacrifice, swearing eternal war upon Faramondo, King of the Franks, who has killed Gustavo's son Sveno in battle. Whoever brings Faramondo's head to Gustavo shall be rewarded with his daughter Rosimonda in marriage, and the throne of Cimbria.

Gustavo's general Teobaldo brings forward Clotilde, Faramondo's sister, who has been taken captive. As Faramondo's blood relative she is condemned to death, yet on seeing her Gustavo hesitates, overcome with a sudden passion, and orders her release. Gustavo's surviving son Adolfo is in love with Clotilde and promises to prove his devotion by defending her brother rather than, as he has sworn to do, seeking his death. In the royal palace Childerico defends Rosimonda against Faramondo's invading forces. Faramondo calls a halt to the fighting and introduces himself to Rosimonda. Though she is struck by his appearance she attacks him as her brother's murderer. Faramondo is equally attracted and offers his life in reparation for Sveno's death, which she refuses, preferring to exact her own revenge.

Faramondo's friend and ally Gernando, King of the Swabians, thanks Faramondo that, in defeating Gustavo, he has won Rosimonda to be his bride. A pensive Faramondo tells Gernando that he must now win Rosimonda's heart, and admits that he has himself fallen in love with her. Alone, Gernando determines to win Rosimonda's love and free himself of his new rival by having Faramondo killed, and tells Rosimonda that this has indeed happened. Rosimonda spurns his offer, and a moment later is relieved to see Faramondo appear alive and well, having just captured Gustavo's palace. He forgives Gernando and offers to return her freedom to Rosimonda and the kingdom to Gustavo; he then offers himself to Rosimonda, but she is tied by her oath and reluctantly refuses his love. Faramondo leaves her, promising to return only to die at her feet. She remains confused and distressed. In the Cimbrian camp Gustavo declares his love for Clotilde, but she angrily rejects him. Teobaldo reports that Faramondo has come from the city walls alone and unarmed, and Gustavo prepares an ambush. Fearing treachery, Clotilde again asks Adolfo to defend her brother; thus when Gustavo raises his sword against Faramondo Adolfo is at hand to step between them; Faramondo's soldiers appear and Gustavo finds himself trapped. Faramondo again generously offers Gustavo his kingdom and Rosimonda her freedom, but Gustavo furiously rejects him, and exiles Adolfo for his disloyalty. Aware that his hopes of success are slim, Faramondo now dismisses his soldiers and plans to return alone to see Rosimonda.

Act II Gernando approaches his old enemy Gustavo and proposes a truce, suggesting that they combine forces to destroy Faramondo. Gustavo offers him Rosimonda as the reward for Faramondo's head, but alone with Gernando she is outraged and demands his head too. Faramondo now places his life in danger by returning to the enemy camp to see Rosimonda. He hides as she approaches and so overhears her confess to Clotilde her mixed feelings towards him. He steps forward and offers to die at her feet, but though increasingly anxious to save him she still cannot forget her oath: Faramondo must die, though she prevents Teobaldo from killing him immediately and places him under Childerico's guard in her apartments. Clotilde undertakes to ask Gustavo for clemency.

Adolfo learns that Faramondo has been captured and is to be executed; risking his father's displeasure he approaches Gustavo and asks him to be merciful. Gustavo's response is to have Adolfo arrested and taken away under guard. Clotilde now arrives to appeal to Gustavo on behalf of both her brother and her lover and he agrees to reprieve Adolfo, though not Faramondo, if she will marry him. Disgusted by his tyranny she tells Gustavo to go ahead and kill his own son.

In Rosimonda's apartments Gernando attempts unsuccessfully to gain access to Faramondo. Rosimonda now asks Childerico to bring Faramondo forth. She returns his sword to him and reminds him that he was not fairly captured in battle, but voluntarily put himself in danger through his love for her. Her honour demands that she help him escape and save himself; however, she also offers him some hope that she responds to his love.

Act III Gustavo is furious with his children, Adolfo for intervening to save Faramondo's life, Rosimonda for now freeing him from captivity. Reliquishing any residul affection for either Adolfo or Clotilde Gustavo condemns them both and they resolve to face death together.

At a short distance from Faramondo's camp the treacherous Gernando, overheard by Faramondo, plans to abduct Rosimonda and encourages Teobaldo to join him in seizing Gustavo. [Teobaldo then delivers to Faramondo a letter from Gustavo threatening dire consequences unless he voluntarily returns to captivity.] Faramondo agress to return to Gustavo's camp, though with a plan of his own, and summons his soldiers to accompany him, restraining his fury at Gustavo's tyranny with the thought that he is yet the father of his beloved Rosimonda.

Teobaldo returns to tell Gustavo that Faramondo has agreed to come. Adolfo has been freed from his imprisonment and reports that Gernando's forces have seized Rosimonda; he offers to go in place of his father to resuce her. However, as he leave's with Gustavo's soldiers the Swabian forces enter by a different door and take the now unprotected Gustavo prisoner. Teobaldo disarms and seizes his own king, and is about to put him in chains when Faramondo arrives in armour, his visor down, followed by Adolfo with Gustavo's forces. [The Swabian soldiers flee, leaving Teobaldo isolated;] and he is in turn seized and fettered by Faramondo's men. Faramondo, his face still hidden, restores Gustavo's sword to him and Gustavo embraces his unknown saviour, but is then appalled to discover that it is his mortal enemy Faramondo. Faramondo's willingness to die, and his generosity in risking his own life to save his enemy, at last persuade Gustavo to set aside his old hatred; yet he cannot forswear his oath; Faramondo must still die, and Rosimonda, whom Faramondo has also freed from Gernando's grasp, finally admits to her love and offers to die with him. Gernando is brought in under guard. Faramondo asks Gustavo to bless the marriage of Adolfo and Clotilde and begs Gernando's pardon for having offended him by his love for Rosimonda. Gernando, too late, realises what a generous friend he has lost in Faramondo. Faramondo is led off to execution, but Adolfo and Clotilde, left alone together, have a sense that fortune may change.

In an amphitheatre in the Cimbrian camp Gustavo calls upon the goddess of revenge for strength to carry out the execution and raises his sword to decapitate Faramondo. At this crucial moment he receives a letter from Teobaldo, now on his deathbed in Sarmazia: Sveno was not, after all, Gustavo's son, so Faramondo is innocent of any crime against Gustavo's family. [Teobaldo's letter reveals that he was Sveno's father, having exchanged Gustavo's infant son for his own; the Sveno whom Faramondo killed was thus Teobaldo's son, and Gustavo's lost son is revealed as Childerico.

Rosimonda, who arrives expecting to die, is instead offered to Faramondo, who celebrates the triumph of noble generosity over hatred.

Serse – HWV 40 (Xerxes)

Opera in 3 Acts Original language: italian Duration ca. 3 hours World premiere: 15.04.1738 (King’s Theatre, Haymarket, London) Libretto after Nicolò Minato, (1654) and Silvio Stampiglia (1694)

Performer: Les Arts Florissants & Chor - William Christie, Anne Sofie von Otter (Mezzo Soprano) – Serse, ELizabeth Norberg- Schulz (Soprano) – Romilda, Sandrine Piau (Soprano) – Atalanta, (Counter Tenor) – Arsamete, Silvia Tro Santafé – Amastre, Giovanni Furlanetto (Bass) – Ariodante, Antonio Abete (Bass) – Elviro Recorded 2004

People: • Serse (Soprano), King of Persia • Arsamene (Mezzo Soprano), Brother of Serse, lover of Romildas • Amastre (Alto), Bride of Serse, dressed as man • Romilda (Soprano), daughter of Ariodate, mistress to Arsamene • Atalanta (Soprano), daughter of Ariodate, secretly loved in Arsamene • Ariodate (Bass), Captain of Serse • Elviro (Bass), Servant of Arsamene • People, soldiers, seamen, priests

Action: The action takes place in Abydos, on the southern shore of the Hellespont. Act I A magnificent garden with a plane tree and a summerhouse. The Persian king Serse (Xerxes) pays affectionate tribute to the tree. As he admires it his brother Arsamene, accompanied by his servant Elviro, comes in search of his beloved Romilda. They stop at the sound of music, and Romilda, from the summerhouse, sings of Serse's infatuation with the tree. Aroused by the sound of his own name Serse asks Arsamene about the singer: he wants her as part of his harem or, failing that, as his wife. Arsamene is horrified, but is determined that Serse shall not have her. Arasmene warns Romilda of Serse's intentions, thereby giving hope to Romilda's sister Atalanta, who is secretly in love with Arasmene. Though Romilda reassures Arasmene that she will be true to him, he remains anxious, and when Serse comes to tell Romilda that he wants her as his queen Arasmene steps forward to intervene, and is banished from the court. Serse tries, unsuccessfully, to convince Romilda of his love; she is determined not to betray her love for Arasmene. In a courtyard outside the palace Amastre, a princess promised in marriage to Serse, arrives disguised as a man. Serse's victorious army now returns from war against the Mauri, led by Serse's general Ariodate, father of Romilda and Atalanta. Serse congratulates Ariodate and promises him, as a reward, that his daughter Romilda shall have a royal husband, 'equal in status to Serse'. Ariodate is delighted. Serse muses on his love for Romilda, and how Amastre and her father will react to the news that he is taking a vassal as a wife. Amastre, incensed at what she hears, nearly gives herself away. Arasmene gives a letter to Elviro to deliver to Romilda, in which he promises to visit her secretly. Amastre, alone, determines furiously to have her revenge on Serse. Atalanta taunts her sister, telling her that Arasmene loves another woman, but Romilda is not fooled. Atalanta realises that she will need to employ her full repertoire of coquetry to secure Arasmene for herself.

Act II A public square. Elviro has disguised himself as a flower-seller to convey the letter to Romilda, but is concerned that she will soon be Serse's wife. Amastre overhears and questions Elviro about the king's forthcoming marriage. She realises in despair that her last hope is gone. Atalanta arrives and Elviro makes himself known to her and explains his mission; she promises to deliver the letter and takes it from him, telling Elviro that Romilda has forgotten Arasmene and is in love with Serse. Atalanta now shows the letter to Serse, but claims that it is addressed to her, and that Arasmene's love for Romilda was feigned. The news gives Serse hope and he takes the letter to Romilda, telling her that Arasmene loves her sister. She insists that she still loves him, though once alone she falls prey to jealousy. Amastre has decided to kill herself. Elviro stops her and she determines to confront Serse with his treachery before she dies. Elviro tells his master that Romilda is in love with the king; Arasmene is heart-broken. Serse's forces have completed a bridge across the Hellespont, joining Asia and Europe. Sailors praise the enterprise as Serse instructs Ariodate to advance across into Europe. Serse consoles the doleful Arasmene with the news that he shall have the wife he wants - Atalanta; Serse will marry Romilda. Arasmene, confused, insists that it is Romilda he loves; and that he is determined to win her. Serse advises Atalanta to forget her love for Arasmene, but she admits that she cannot. Elviro, searching for his master on the sea shore, watches as a storm brews which threatens to destroy the bridge. In a garden near the city Serse and Amastre, each lost in thought, lament the miseries of jealousy. When Serse attempts, again, to persuade Romilda to marry him, Amastre intervenes with drawn sword. Serse calls his guards, but Romilda dismisses them and asks Amastre why she leapt to her defense. Amastre explains that she was saving Romilda from being forced into a match against her will. Romilda pays glowing tribute to those true in love.

Act III In a gallery, Arasmene and Romilda are quarelling over the letter, but are quickly reconciled when Atalanta explains her deceit. Atalanta resigns herself to finding a lover elsewhere. Serse approaches and Arasmene hides. With veiled threats Serse now presses Romilda to accept him, and in desperation she agrees if her father will grant his consent to their marriage. Serse leaves to speak to Ariodate; Arasmene, emerging from hiding, accusses Romilda bitterly of betraying him. Serse repeats to Arodate his promise that a man his own equal in rank shall be Romilda's husband. Ariodate, highly honoured, imagines Serse to mean Arasmene and readily agrees. Serse returns triumphantly to Romilda, addrssing her as his queen, but to stall him she now confesses that Arasmene has kissed her; Serse's furious reaction is to dispatch guards to kill Arasmene. Romilda asks Amastre to warn Arasmene that he is in danger; in return Amastre asks Romilda to convey a letter of her own to the king. Arasmene believes that the death threats are a ruse to be rid of him and he and Romilda quarrel again. In the great temple of the sun Ariodate greets Romilda and Arasmene - still bickering - with the astonishing news that they are to be married immediately by Serse's decree. Ariodate joins their hands in marriage, then hurries back to Serse to thank him. When Serse understands what has happened he turns on the quaking Ariodate in fury. A page now brings the letter, apparently from Romilda, accusing Serse of treachery; learning that it is from Amastre he explodes with rage and rushes from the room, to be met by Romilda, Arasmene and Amastre. Serse orders Arasmene to fill Romilda, but Amastre intervenes and takes Serse's sword; if a traitor in love is to be punished, she will carry out the punishment. She turns the sword on Serse, and reveals her identity. Serse is humbled, and they are reconciled. Serse blesses the union of Romilda and Arasmene and begs forgiveness for his tyrranical behaviour. Imeneo – HWV 41

Opera in 3 Acts Original language: italian

Duration ca. 2 hours World premiere: 22.11.1740 (Theatre Royal, Lincoln’s Inn Fields, London)

Libretto after Silvio Stampiglia, Imeneo (1723)

Performer: Capella Augustina - Andreas Spering, Vokal Ensemble Köln - Max Ciolek, Ann Hallenberg (Mezzo Soprano) – Tirinto, Johanna Stojkovic (Soprano) – Rosmene, Siri Karoline Thornhill (Soprano) – Clomiri, Kay Stiefermann (Bass) – Imeneo, Locky Chung () – Argénio Recorded 2002

People: • Imeneo (Bass), loves Rosmene • Tirinto (Mezzo Soprano), engaged to Rosmene • Rosmene (Soprano), engaged to Tirinto • Clomiri (Soprano), loves Imeneo • Argenio (Bass), Rosmene's and Clomiri's father, a comedian Athenians • Guards, servants, people / Wachen, Diener, Volk

Action: The entire opera is set in a pleasant garden (‘Deliziosa’).

Act I Athenian virgins sent to take part in the Eleusian rites in honour of Ceres have been captured by pirates. Tirinto laments that his betrothed Rosmene is missing, and the senator Argenio worries about his daughter Clomiri; they pray to Ceres for aid.

The chorus announces that Imeneo is arriving with good news: disguised as a girl, Imeneo single-handedly slew all the pirates in their sleep, rescued all the virgins and brought the ship home to Athens. He claims Rosmene as his reward; Tirinto is appalled. Rosmene and Clomiri return, but the reunion causes embarrassment to all four thwarted lovers: Rosmene does not love her ardent rescuer Imeneo, who is indifferent to Clomiri (despite her unsuccessful hints that she adores him). Tirinto refuses to give up Rosmene, who gives noncommittal answers to the rivals.

Left alone, Imeneo confidently expects that the wise men of Athens will award him the ‘turtle fair’ he desires.

Act II Torn between her betrothal to (and love for) Tirinto and gratitude to Imeneo, Rosmene prays to the gods for help. Argenio tells her that reason dictates she ought to choose to marry Imeneo; he dismisses her love for Tirinto as ‘mere perverseness’, and instructs her on the rewards of obedience. Rosmene complains about the pains of love to Clomiri, who informs Tirinto about Rosmene’s distress; his pangs of jealousy are like a violent storm.

Imeneo tells Clomiri he is grateful to her father for pleading his cause with the senate; she assumes that Rosmene will be delighted (having no idea that her rival loves Tirinto). Imeneo contemplates the agonies of love: he and Rosmene are instructed that the senate cannot force their marriage, but that Rosmene must be free to choose. In a trio, both suitors plead to her but she is torn between love and gratitude.

Act III Tirinto and Imeneo insist that Rosmene choose between them. She says that pity for the loser holds her back, but promises her decision will be dictated by her heart. Each of the men resolves to die if he loses. Clomiri tells Imeneo that she loves him, but to no avail. Rosmene resolves to make her choice but feigns madness in order to spare the feelings of the loser. First, she meets Imeneo, who is alarmed by her distraught manner; he begs her to kill him if she destroys his peace. Next, she meets Tirinto, who reacts exactly the same way to her apparent madness.

Clomiri and Argenio lament Rosmene’s insanity, and she arrives to announce her decision to the rivals: she enacts a trancelike journey to the underworld, where the judge of the dead Rhadamanthus cleaves her heart and releases her soul; she collapses, emerges from her trance and pragmatically chooses Imeneo. She says her decision has been as difficult as choosing between the three goddesses, denies that she is raving, gives her hand to Imeneo, and asks the silent Tirinto to accept rejection calmly.

The chorus conclude sombrely that the virtuous heart should always yield to reason.

Deidamia – HWV 42

Opera in 3 Acts Original language: italian

Duration ca. 3 hours World premiere: 10.01.1741 (Theatre Royal, Lincoln’s Inn Fields, London)

Libretto by Paolo Antonio Rolli

Performer: Brewer Chamber Orchestra - Rudolph Palmer, Palmer Singers, Edward Brewer-Harpsichord Julianne Baird (Soprano) – Deidamia, John Cheek (Bass-Bariton) – Lycomede, Brenda Harris (Soprano) – Ulisse, D'Anna Fortunato (Mezzo Soprano) – Achille, Peter Castaldi (Bariton) – Fenice, Máire O'Brien (Soprano) – Nerea Recorded 2001

People: • Deidamia (Soprano), Daughter of King Licomede • Nerea (Soprano), a Princess of Royal birth, her confidante • Achille (Achilles) (Soprano), in women's clothing under the name Pirra • Ulisse (Odysseus) (Alto), son of the Nestore, under the name Antiloco • Fenice (Phoenix) (Bass), King of Argos, father of Achilles and emissary • Licomede (Bass), King of the Aegean island of Skyros • Nestore (Mute), King of Pylos • Master of ceremonies, companions of Deidamia, court, people

Action: The oracle predicted that Achilles would die if he fought in the Trojan War. In an attempt to forestall this fate, his father Peleus has disguised him as a girl and sent him to live in the palace of his friend Lycomedes, on the island of Scyros, where he is brought up amongst Lycomedes' daughters and becomes the lover of the eldest, Deidamia. As the Greeks prepare for their war against Troy, the priest Clachas reveals that the city cannot be taken without Achilles' help. Ambassadors are sent to Scyros to retrieve him. Act I The ambassadors from Agamemnon arrive on Scyros: Ulysses, disguised under the name of Antilochus, Phoenix and Nestor (a silent role). Ulysses askes Lycomedes to contribute military help to the expedition, to which he readily agrees; he then demands that Lycomedes surrender the young Achilles, rumoured to be concealed on the island and essential to the Greek victory. Loyal to his friend Peleus, Lycomedes denies that he is sheltering Achilles, but permits his guests to search for him. Inside the palace, Deidamia waits longingly for her beloved Pyrrha to return from hunting. Pyrrha - Achilles in disguise - returns flushed with his exertions and rebukes the women for sitting idly indoors. The women leave Deidamia and Achilles together. Deidamia gently chides Achilles for being more in love with the chase than with her. Achilles admits that he loves her, but is not prepared to sacrifice his freedom. Deidamia's confidante, the princess Nerea, brings news of the strangers arrived from mainland Greece in search of Achilles. Deidamia is immediately anxious on Achilles' behalf and a short conversation with Ulysses convinces her that they must be on their guard. Act II In the palace garden Achilles sees Deidamia talking to Ulysses and is fascinated by his armour and manliness. He listens to their conversations, as Ulysses now pays court to Deidamia in order to win her confidence, and Deidamia politely but firmly refuses him. Stung with jealousy, Achilles petulantly berates her for encouraging Ulysses' attention. Nerea brings news that Lycomedes has arranged a hunt to entertain their guests. Deidamia is alarmed that Achilles' enthusiasm and hunting skill will betray his identity. But Nerea has also been courted by Phoenix and suggests that she and Deidamia distract the Greeks by appearing to respond to their addresses. Deidamia agrees, but begins to wonder whether Achilles' angry outburst covered a real resolution to abandon her. Lycomedes recommends the hunting on his estate to Ulysses; he, however, is too old for such sports. The hunt begins, and Nerea attaches herself to Phoenix, gaily taunting him with being more interested in the hunt than in her. Ulysses has been watching 'Pyrrha' and now joins Phoenix: the strange girl's strength and skill in hunting have convinced him that 'she' is in fact Achilles in disguise. Finding an opportunity to draw 'Pyrrha' aside Ulysses begins a feigned declaration of love; Achilles is flattered and amused, and more so when he notices that Deidamia is in hearing. As soon as Ulysses leaves she furiously attacks Achilles for thoughtlessly risking exposure and their happiness. Achilles shrugs off her anger and is about to rejoin the hunt when he is now stopped by Phoenix, who similarly engages him in conversation. Achilles' lack of interest in love convinces Phoenix that Ulysses was correct: 'Pyrrha' is in fact a man. Act III Phoenix tries to persuade Nerea that he is in earnest: as a Greek woman herself she should be proud, not jealous, that he is soon to leave for the Trojan war. Nerea realises that she should not let this opportunity slip through her fingers. Ulysses and Phoenix put into practice a scheme to unmask Achilles. They present the women of the court with a chest of ribbons, fabrics and other finery. As Deidamia frantically urges Achilles to show a girlish interest in them, he instinctively reaches for a helmet, shield and sword cunningly placed amongst the trinkets. A call to arms sounds, and he brandishes the sword ready for action. He has betrayed himself, and Ulysses confronts him with his true identity, urging him to join the Greek force massing against Troy. Achilles enthusiastically agrees. Grief-stricken at the thought of losing him, Deidamia curses Ulysses for destroying her happiness. Deidamia visits her father and congesses her love for Achilles. Though he blesses their love he tells her that it can last only until Achilles departs, and reveals the prediction that Achilles will die at Troy. Achilles, now at last dressed as a man, comes to Deidamia and proposes that they marry immediately, but her anger and distress at her imminent departure lead them into a quarrel. Ulysses pacifies them by revealing his own identity: he too has famously left his much-loved wife Penelope to go to war, to the greater glory of them both; he predicts that Achilles and Deidamia will achieve similar fame. Deidamia will not be comforted. Nerea accuses Phoenix of feigning love purely to discover and abduct Achilles. He assures her that his love is genuine; he porposes, and she accepts him. They are joined by the others, Lycomedes now content to surrender Achilles to the Greek cause. Ulysses joins the hands of Deidamia and Achilles, and the final chorus encourages them, and us, to take our fleeting pleasures while we may. 39. The Alchymist – HWV 43

The Alchemist or The Alchymist is the incidental music for the performance of Ben Jonson's comedy "" on 14 January 1710 at the Queen's Theatre.

The performance duration of the incidental music (1710) is 15 to 16 minutes. The sets:

• Ouverture • Prelude (Händel?) • Minuet • Saraband • Boree • Aire • Minuet • Aire () • Jigg

Performer: The Academy of Ancient Music - Christopher Hogwood Recorded 1997

The comedy The Alchemist is one of the outstanding satirical pieces of its time: it is by three swindlers who claim to be powerful Alchemy, and exploit to the gullibility and greed their victims. Their deceptive machinery turns faster and faster until the scammers overestimate itself and the bubble bursts. It is the plot of little to illegal topicality, although some motifs can be traced back until the Mostellaria, the ghostly comedy of Plautus,. Place of action is the chic district of Blackfriars in London where Jonson himself lived. Time of action: 1610 during a plague - the year of the comedy. In this contemporary London plays a plot, which revolves around the Alchemy that many believed at that time as well as magic and witches. Mercilessly, Jonson reveals those contemporaries of ridicule, which fall on the fraudulent "Alchemists" subtle. As already in Volpone, it is Jonson to the cathartic presentation and exposure of folly, aimed itself. The cheaters are only no longer punished. In the Alchemist, Jonson waives the warning raised index finger and instead lets the stage for himself to speak. This is transported through the magnificent diversity of different speech, ranging from the rhetorical pathos to the Canting. At that time only Shakespeare possessed such eloquence. Jonson and Shakespeare were rivals in this language and also in dramatic ways. Perhaps only the fundamental difference of their works has rescued friends from, being competitors. First in 1610 at Oxford by the most successful London theater troupe of the time, listed The King's Men, the piece is generally known best and most characteristic comedy as Jonson's. Samuel Taylor Coleridge claimed that it had one of the three most perfect acts in the history of literature up to his time. The acting meets the classical requirements of the theatre of the Renaissance exemplary and the living representation of human stupidity have made it one of the few pieces of time, who have secured a permanent place on the stage (apart from the works of Shakespeare) to the present.

40. Comus – HWV 44

There in blissfull shades and bow'rs

Comus is the musical epilogue to a performance of the play of Comus by John Milton at the seat of the Earl of Gainsborough in Exton Hall, Exton, Rutland on June 1745, .

The story tells about a young girl, which is lost in the forest and meets the magician of Comus, son of Bacchus and Circe. Comus and his entourage, the exuberant spirits of the night, idolize the Virgin and try to seduce them with all kinds of sensual enjoyment. But the chastity outweighs the temptation: it remains firm and is freed by her two brothers under the guidance of the protector, eventually with the support of the river goddess Sabrina.

The running time of the incidental music is 20 Minutes. The sets:

• Air (Bass) • Chorus • Air (Soprano) • Chorus • Air (Mezzo-Soprano) • Chorus

Performer: The Academy of Ancient Music - Christopher Hogwood, Christina Pound – Soprano, Catherine Denly – Mezzo Soprano, Rogers Covey-Crump – Tenor, Christopher Keyte - Bass Recorded 1980

41. Alceste – HWV 45

Incidental music to a lost play by Tobias Smollett

Original language: englisch

Duration ca. 1 hours

World premiere: geplant Anfang 1750, nicht stattgefunden

Libretto byTobias Smollett (Schauspiel), (Liedtexte)

Performer: Early Opera Company Orchestra & Chorus - Christian Curnyn Lucy Crowe - Soprano, Benjamin Hulett - Tenor, Andrew Foster-Williams - Bass-Bariton Recorded 2012

People: • Admetus (Speaker), King of Thessalia • (Speaker), his wife • Hercules (Speaker), Herakles, (Alcides) • Calliope (Soprano), the wisest of the muses • Syrene (Alto) • Apollo (Tenor) , God • Attendant (Tenor) • Charon (Bass), Ferrman in the underworld • (Second Soprano)

Alceste (or Alcides) is a masque or semi-opera by Händel.

It was written as incidental music to a lost play by Tobias Smollett, which was rehearsed at Covent Garden Theatre but never performed. There was an and songs for Acts 1 and 4, 19 movements in total. It was composed from 27 December 1749 to 8 January 1750. Handel later used the music in The Choice of Hercules, HWV 69, and revivals of , HWV 65, and Hercules, HWV 60.

In Alceste, Admetus, the terminally ill King of Thessaly, is promised by Apollo that he can defer his premature death if another person volunteers to die in his place. Alcestis, the beloved wife of Admetus, bravely sacrifices herself to die in his place. The hero Hercules visits his grieving friend Admetus, resolves to travel to Hades, overpowers Pluto, returns Alcestis to the world of the living, and restores her to Admetus.

41. Oreste – HWV A11

Opera in 3 Acts Original language: italian

Duration ca. 2 ½ hours World premiere: 18.12.1734 (London)

Libretto by Giovanni Gualberto Barlocci (1723)

Performer: Camerata Stuttgart - George Petrou, Mary-Ellen Nesi (Mezzo-Soprano) – Oreste, Maria Mitsopoulou (Soprano) – Ermione, Mata Katsuli (Soprano) – Ifigenia, Antonis Koroneos (Tenor) - Pilade), Petros Magoulas (Bass) – Toante, Nocholas Spanos (Countertenor) – Filotete Recorded 2004

People: • Oreste (Mezzo Soprano) • Hermione (Soprano), wife of Orest • Iphigenia (Soprano), sister of Orest and Priesterin der Diana • Pylades (Tenor), friend of Orest • Thoas (Bass), King of Tauris • Philoctetes (Alto), Vaptain of Thoas • Chorus

Action:

Act I At the beginning of the opera Ifigenia finds Oreste in the sacred grove of Diana without realizing that she is in the presence of her brother. She wants to save him from the danger of sacrificial death, and Filotete, Toante’s captain, with whom she is in love, supports her in order to win her. In the meantime Ermione, Oreste’s wife, reaches the harbor of Tauris in her search for her husband. She encounters Pilade, Oreste’s true friend, and both are arrested by Filotete, for they are foreigners and therefore sentenced to death. Toante, however, falls in love with Ermione and desires her. Ermione rejects his advances.

Act II Oreste is in the forecourt of the temple when Pilade is dragged in by the guards. Oreste enlists himself in his cause, and Toante orders to have him killed too. Oreste is ready to fight, but Ifigenia, in an effort to save him from ruin, forbids the fight. He delivers himself up. She exploits Filotete’s love, frees the imprisoned Oreste, and shows him the way to the sea, but he hesitates to flee without his friend Pilade. Finally, Ermione, following her husband’s trail, encounters Oreste. Toante surprises them while they are embracing and has both taken prisoner.

Act III Toante offers Ermione Oreste’s life and freedom if she is willing to be his, but she rejects his offer and prefers chains. Toante urges Ifigenia to sacrifice Oreste on the sacrificial altar. Ermione intervenes, demanding that she be killed, but she is removed from the temple. Pilade pretends to be Oreste in order to die in his place. Oreste will not accept this sacrifice, and now both claim to be Oreste. Ermione is brought back to identify Oreste, but she is not prepared to do so, even when threatened with death. As a final complication of the situation, Ifigenia reveals that she is Oreste’s sister. When Toante thereupon demands that she kill Pilade and Oreste, she threatens to kill him first. Filotete takes her side, and the conflict comes to a head. A fight ensues, and Toante is killed. The people have been liberated, Oreste and Ermione have been reunited, brother and sister have been brought together, and Oreste has overcome his emotional torments.

Herausgegeben von / Edited by

Alexej Wilk © 2013 pdf-Noten Wilk, Berlin

Das widerrechtliche Kopieren ist gesetzlich verboten und kann privat- und

strafrechtlich verfolgt werden. / Unauthorised copying is forbidden by law, and may result in criminal or civil action.

http://www.pdf-Noten.com