sign in sign up
<<
Home , Admeto, Agrippina (opera), Alcina, Alessandro Severo, Almira, Ariodante

AO.J

THE ROLE IN HANDEL'S

THESIS

Presented to the Graduate Council of the

North Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

by

Ida Elizabeth Weir, B. S. E.

Little Rock, Arkansas January, 195+ PREFACE

The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles.

Although Handel has won wide acclaim due to his , little recognition has been given to him today through his operas. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today. At the close of Chapter II there are: a list of the operas in chronological order (Appendix I); a list of the operas in alphabetical order (Appendix II); a list of the soprano arias, and duets in alphabetical order according to each with corresponding role, range, volume and page number in the Chrysander Edition (HCE) (Appendix III), and a list of soprano arias, duets and recitatives in alphabetical order with corresponding opera and location (Appendix IV). A bib- liography of the available literature in books and music will be found at the end.

iii TABLE OF CONTENTS

Page PREFACE ...... * . . * . . . i1i

Chapter I. HANDEL AS AN OPERA COMPOSER...... 1 Handel's Career Techniques and Styles His Operas Today

II. THE OPERAS...... *...... 20

APPENDIX I. OPERAS IN CHRONOLOGICAL ORDER...... 87

II. OPERAS I ALPHABETICAL ORDER ...... 88

III. SOPRANO ARIAS, DUETS AND RECITATIVES IN ALPHABETICAL ORDER ACCORDING TO EACH OPERA WITH CORRESPOTTDI T G ROLE, RANGE, VOLUME AND PAGE VTMBER. * ...... 89 IV. SOPRANO ARIAS, DUETS AND RECITATIVES IN ALPHABETICAL ORDER WITH CORRESPODITG OPERA AND LCCATION...... 125

BIBLIOGRAPHY...... 142

iv CHAPTER I

HANDEL AS AN OPERA COMPOSER

Handel's Career

In 1703 Handel began his operatic career at the age of eighteen in . He obtained the position as second violinist in the opera in the Gansemarkt Opera

House. At this time 's' German opera,

Claudius (1703), became the first work sung in the Ganse- markt to include numbers in Italian. Keiser composed almost one hundred and twenty operas,2 only a few of them to wholly German texts. Most of his works were partly or entirely

Italian in both text and musical style.

More important to Handel than Keiser, though by no means a musician of Keiser's genius, was the Gansemarkt's leading , . At the age of nine years (1690) he became an opera chorister and six years later a soloist.

He heard Die Pleyaden (1699), his own first opera, sung in

1 Keiser (1674-1739) was then at the height of his operatic career (1694-1739). He was the first German to employ popular subjects in opera. (Bakers Biographical Dictionary of Musicians, "Handel").

20nly twenty-two of these operas have been preserved. (R. A. Streatfield, The Opera, p. 13).

1 2

Hamburg at the age of eighteen.3 But the operatic section of his very long career was brief. In 1728 he became deaf, con- sequently he turned to writing about music.

The friendship that existed between Handel and Matthesm proved to be valuable because it probably helped Handel to obtain the position as second violinist in the orchestra of the Gansemarkt.

In the spring of 1704, Keiser began to write an opera te

a text by a poet named Friedrich Christian Feustking. The

was partially translated into German from an Italian original and partially left in Italian. Something distracted

Keiser's attention after he began to work, and he conse-

quently invited Handel to collaborate with him in the opera.

Then he gave up his part altogether, and Handel decided to

set the text by himself. Thus he came to the composition of , the first of his forty operas.6 He seems to have

3 Abdy Williams, Handel, p. 19. 4Herbert Weinstock, Handel, p. 21.

5The libretto contained fifteen Italian airs, and forty-four German songs. (W. S. Rockstro, The Life of George Frederich Handel, p. 39).

6 According to , A General History of Music, II, Newman Flower, George Frederic Handel, and Her- bert Weinstock, Handel, Handel composed forty operas. Hugo Leichtentritt, "Handel," The International Cyclopedia of Music,and Edward J. Dent, Handel, claim that Handel wrote forty-six operas which include the following six added dramas: (1712), Parnasso in testo (1734), Terpsi- chore, a ballet, with the second version of (1734), (1734), Severo (1737), and Jupiter in Arg os(1739). 3

worked on it all during the latter half of 1704, while continuing his labors in the opera house orchestra and his tutoring.

On January 1, 1705, Handel's Almira was sung at the

Gansemarkt Opera House. Its audience, not distrubed at all by the ridiculous story propounded partly in German and partly in Italian, gave every sign of approval. Keiser seemed very jealous of Handel, because Almira was assured of success. Rivalry existed between them, but Handel was not too perturbed for he was selected to write two new operas, in 1705, and Floririda and Dafne in 1706.7

These were to be presented in Hamburg, but before the second one was performed he left the city. He had made the acquaintance of an Italian Medici prince who invited him to travel with him to .8 This Italian prince, Gaston de' Medici, ultimately proved to be responsible for one of the most decisive developments in Handel's life. He told Handel he felt sure that he would go far in the operatic field, described to him the glories of Italian music at Florence

7The libretto of Nero was put together entirely in German by Feustking. It contained seventy-five arias. The scores of both operas are lost. (W. S. Rockstro, The Life of George Frederic Handel, p. 40).

8 Hugo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians, edited by 0. Thompson. and , and convinced him that he was wasting his time in Hamburg.9

During these years in Italy (1706-1709) he became

acquainted with some of the leading Italian masters,

Alessandro and , Corelli, Agostino

Steffani and many others. His association with them helped him master the most advanced Italian style. As he studied

their techniques, he accomplished the art of combining the

best characteristics of the German and Italian methods.

Later on he included some of the English and French methods.

Because of his artistic ability which was portrayed by his development of these methods, he rivaled some of the greatest Italian masters. As he travelled in many of the large cities, Florence, Rome and , he was declared a genius by the best critics of that day. The achievement of his success was in 1709, when the opera was pro- duced in .1 0 Newman Flower calls this opera "un- questionably the finest work he had produced in Italy or elsewhere, and it was incidentally the means of getting him back again to his native land." 1 1 After returning to

Hanover, Handel was appointed court conductor, on the

9 Newman FlQwer, George Frederic Handel, p. 77.

1 0 Hupo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians, edited by 0. Thompson.

1 1 Flower, p_. cit. , p. 97. 5.

recommendation of Agostino Steffani. He then was invited to produce a new opera in .

Rinaldo (1711), his first opera for the English

capital, was so successful that a field of brilliant

activities was opened to him there. Young Handel, who

possessed, for an artist, unusual abilities for

business affairs, was not slow in perceiving the possi-

bilities in London and he resolved to live permanently in

England. Though he returned to Hanover for a short time,

he hastened back to London where, in 1712 and 1713, his new

operas, 11 Pastor Fido and brought him new triumphs.

Handel never returned to Hanover.

The decade 1720-1730 marks the acme of Handel's career

as composer of Italian operas. No less then fifteen new

Handel operas were given during these years, among them were

masterworks like (1720), (1723), Giulio

Cesare (1724), (1724), (1725), (1727) and (1728).

The closed in 1728 owing to the

lack of support of the public in London. The eyes of the public had turned toward ThBe Bgar's Oper., 1 2 a parody on

12The music consists of sixty-nine numbers adapted by Pepusch to popular airs (one of which is the March from Handel's 1711); Pepusch also arranged and orches- trated the score and composed one of the songs and the (which is founded on the air, "One Evening Having Lost My Way," occurring in the third act). ( Lowenberg, of Opera, p. 82). 6

Italian opera. The words are by and the music is partly composed and arranged by John Christopher Pepusch.

The people were becoming tired of the and the lightness of TheBeggar's a with the ballad tunes and clever satire attracted the attention of all the music lovers. The rivalry and jealousy of the famous prima donnas, Faustina Bordonil3 and ,14 and also the , ,1 5 created reign of unhappiness during these years, therefore the public looked toward the lighter veins in opera.16

After being closed for a year, the Royal Academy of

Music was reorganized in December 1729 with a new company of Italipn singers. Prominent among these singers were

Antonio Bernacchi, castrato soprano, and the soprano, Anna

Po La Strada. Handel's new operas, (1731),

(1732), and (1733) were successful productions in

13Faustina (1693-1783), a soprano, married in 1732 and was later referred to as Faustina Hasse. (Charles Burney A General story of Music, II, p. 738. According to Bakers Biographical Dictionary of Musicians, "Handel," Faustina was a mezzo-soprano.

14Cuzzoni (1700-1770) is referred to as a soprano by Burney (p. 740) and Flower (p. 161), but as a by Williams (p. 73).

15Senesino (1680-17 5 0) is referred to as a castrati soprano by Williams (p. 71) and Rockstro (p. 129), and a mezzo-soprano by Flower (p. 1+4) and Weinstock (p. 93). His real name was Francesco Bernardi.

1 6 Hugo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians, edited by 0. Thompson. 7

this theater. At this time he encountered rivalry with

Giovanni Battista Bononcini who was the conductor and dramatic composer for the new King's theater. Owing to this rivalry and The Beggar's Opera, Handel closed his theater again (1733). Handel continued his efforts for the third time in the Covent Garden Theater. Still rivalry existed, as he was forced to compete with Nicolo Porpora's operahouse and his leading singer, Carlo Broschi .1 7

The year 1737 proved to be Handel's most disappointing year in his life due to two major catastrophies: the closing of the opera houses and a stroke of paralysis which caused him great suffering. But with the aid of the hot waters of Aix-la-Chapelle, Handel regained his health.

In 1738 John James Heidegger18 (1659-1749) refinanced and combined the two opera companies. Handel, no longer an opera director but still a composer, gave to the public his last operas, (1738), (1738) and

(1741). Although his thirty-five years as a composer had not given him financial independence, he retained the courage to continue his efforts in another field--oratorios --many of which have lived through the years.

17According to Rockstro, Handel, p. 190, he was the most renowned artificial soprano in Europe at that time. His real name is Carlo Broschi. 18Heidegger, an opera manager, went to in 1707, and in 1708-1734 was manager of the London Opera House. In 1729-1734 he was in partnership with Handel at the Ray- market Theater. He wrote the libretto for Handel's Amadigi (1716). (Hugo Leichtentritt, "Heidegger," The International Cyclopediaof Music and Musicians. 8

Techniques and Styles

Handel was a man of much talent and produced operas that were equal to anything that had been composed up to the time they came into existence in 1705. He was very familiar with dramatic art, knew more about the voice than most singing masters and was a great composer to boot. While writing under disturbing ci cumstances and conditions, he displayed his talent in producing real works of art.1 9

In order to understand what these conditions were, it is necessary to be familiar with the conventions of the

Italian opera. Handel did not stray from the conventions of his day, yet he uses a variety of forms and styles. He experimented in new forms, the descriptive symphony opening the opera,2 0 refined orchestration,2 1 and ensembles and dances.2 2 Nothing seems to have been too much for him. Handel took the opera as he found it and merely embellished it by his genius.

The plan of the opera was highly conventionalized, the main object being to give each character an opportunity for display. The singers were expected to possess an ability to produce tones of much volume and be able to sing the

1 9 Abdy Williams, Handel, p. 173. 20 HCE, Vol. 74, . 1, i.e. the introduction to Riccardo (1727) which represents a vessel wrecked in a tempestuoussea. 21 HCE, Vol. 82, p. 16, i.e. "Non fugia," Orlando (1733). 2 2 HCE, Vol. 85, p. 130, i.e. (1735) HCE, Vol 86 p. 143 i.e. (.36) and HCE, Vol. 98, p. 80, i.e. Giuiio Cesae (172 9

so-called "divisionstt23 with much exactness. Also, they were to originate other divisions and to use their own ingenuity in embellishing the melodies of the airs with graces and cadenzas.24 According to Abdy Williams,25 the singers were pampered to the extent that they had become overbearing and con- ceited, expecting the composers to satisfy their every whim.

Burney cites an incident which described Handel's effective manner of handling his misbehaved singers. While indulging at a rehearsal of Ottone (1723), Handel threatened to throw

Francesca Cuzzoni out of the window and pretended to carry out his threat. Cuzzoni's temperament soon vanished.26

Jealousies were very frequent between the singers.

One of Handel's cleverest devices was the writing of the duet2 7 in which the two prima donnas, Cuzzoni and Faustina were given absolutely equal parts, so that neither could say that she had sung second to the other.

2 3 A term used in Seventeenth Century England for vari- ations. It became current because it involved dividing the notes of the melody into notes of smaller value.

24Abdy Williams, Handel, p. 174.

25Ihid., p. 176.

2 6 Charles Burney, A General History of Music, II, p. 721.

2 7See HCE, Vol. 72, p. 52, i.e. "Son d'amore nella face calma," Alessandro, (1726). 10

It is evident that much success of the opera depended

on the employment of the best singers. Handel paid his

singers handsomely and when he could no longer afford this,

in the time of his bankruptcy, he somehow managed to

arrange that his singers be well paid for their services.28

According to the conventions of the Italian operas,

nearly all the arias took the da capo form cultivated by

Alessandro Scarlatti, namely a long section in the principal

key, followed by a shorter section in a related key and

rounded off by a repetition (da capo) of the whole of the

first section. Each performer had to sing one or more songs

in each of the three acts and no performer might sing two

arias in succession. Since it was not possible to break the

monotony of the solo voices by the addition of choruses,

Handel enlivened these solos by the flexibility and the

variety of his instrumental accompaniments.

In the vocal solos, Handel uses many different forms

and styles. He blends the voices well with the instruments

in such airs as "Cara sposa"2 9 from Rinaldo (1711) and

"Ombra cara"3 0 from Radamisto (1720). These airs are

examples of seeking new combinations for the old form. In

8 2 Abdy Williams, Handel, pp. 176-177.

2 9HCE, Vol. 58, p. 39.

3 0 HcE, Vol. 63, p. 43. 11

the da capo we find that sometimes the second part has

a different character and movement from that of the first

part.3 1

The scene is a type of vocal solo that

Handel used frequently. Recitative was either secco, that is with only the basses and harpsichord for accompaniment or

stromentato (accompanied by the strings). 3 2 The scenes con-

sisted of recitative followed by an aria. The recitative

runs naturally into the air by beginning with the recitative

secco, almost spoken, then proceeds to recitative accom-

pagnato, and finally to the air. In (1726) spoken

recitative surrounds the phrases of the accompanied recita-

tive.3 3 Teseo (1713), Rodelinda (1725), Alessandro (1726), and Alcina (1736) all present recitative scenes and very

free airs, with instrumental interludes.

The study of Handel's vocal solos presents us with the

problem of vocal ornamentation added to the written notes

31Arioso of Media at the beginning of Act IIcf Teseo (1712), "Dolce riposo," i.e. HCE, Vol. 60, p. 30.

3 2HCE, Vol. 60, p. 47, i.e. the recitative, "Ira, sdegni, e furore," Teseo (1712); HCE, Vol. 68, p. 82, i.e. "Che sento?" (1724), and HCE, Vol. 86, p. 97, i.e. "Ah ' Crudel," Alcina (1736). This last men- tioned recitative has an accompaniment of strings, harpsichord and through the seventeenth measure. From the seven- teenth to the twentieth measures no accompaniment is used, not even the bass. After the twentieth measure the original accompaniment is resumed.

3 3HCE, Vol. 71, p. 23, i.e. "Oh sventurati," Scipione (1726). 12

by the performers. According to the convention of that day, singers were expected to embellish the melodies of the airs with graces, melismatic figures and cadenzas. But, according to Handel's operas, the vocal ornaments were not impro- vised and left to the fancy of the singers but were marked with precise indications in the singers parts and also in the score of the accompanying clavecinist. 3 5 Handel makes little use of vocal ensemble pieces in comparison to his vocal solos. His duets are often written in an imitative style,3 6 serious and rather sad, or in the style where the two voices mingle together note by note with exactitude.3 7 In the duet in the third act of Orlando (1733)

34The ornamentation was much more elaborate and more irrelevant to the expression in his operas than in his oratorios.

35 See Robert Haas, Auggtlhrungspraxis, p. 192, the aria "Lascia ch' io pinaga," from Rinaldo (1711). According to Remain Rolland, Handel, p. 129, Max Seiffert has given a description of the whole series of copies of Handel's operas and oratorios in the Lennard Collection of the Fitzwilliam Museum at Cambridge. There are to be found there (in pen- cil) the indication of the ornaments and vocalises executed by the singers. Rolland says that according to Seiffert these indications were by Christopher Smith, the friend of Handel, and that according to Hugo Goldschmidt they were put in at the end of the eighteenth century. In any case, they show a vocal tradition which seems to preserve for us the general style of the musical ornaments of Handel's time.

36 HCE, Vol. 60, p. 19, i.e. "Addio, mio care bene," Teseo (1712).

3 7 "Quando piu minaccia il cielo," (1737). (HCE, Vol. 89, p. 77). It is to be noticed that Arminio is Handel's only opera that opens with a duet. (BCE, Vol. 89, p. 6, i.e. "Il fuggir, cara mia vita"). 13

Handel attempts to differentiate the characters of the

weeping and the furious .3 8 In Radamisto

(1720) Handel made the attempt at a dramatic , but

rather clumsily and with repeated Da Capo. 3 9

The choruses in the Italian opera of the eighteenth

century consist of the union of the voices of the soloists

at the end of a piece. Handel attempted to escape from the

current banality in his ensembles: that of Tamerlano4O

(1724) is written in a melancholy dramatic vein, that of

Orlando)1 (1733) strives to preserve the individual charac-

ter of each personality, and that of Giulio Cesare2 (1724)

is tacked on to a duet. There are also choruses of people,

the hunters in Deidamia43 (1741), where the choruses take up the refrain from the air announced by the solo voice.

Finally, Handel frequently attempted to build up the

Musical architecture, raising it by successive stages from

solos to ensemble pieces and then to choruses. At the end

of the first act of Ariodante (1735) a duet 1 (gavotte style)

is taken up by the chorus, then danced without voices;

38 HCE, Vol. 82, p. 93.

3 9 HCE, Vol. 63, p. 195, i.e. "0 cedere o perir."

40HCE, Vol. 69, p. 142. 41HCE, Vol. 82, p. 105.

42HCE, Vol. 68, p. 128. 43HCE, Vol. 94, p. 136.

1+ +HCE, Vol. 85, p. 52. 14

finally sung and danced. The close of Act III from the same operagives us a chain of processions, dances and choruses.

The final scene of Alessandro (1726) constitutes a different opera finale which consists of two duets and a trio running into a chorus.4 One of Handel's greatest characteristics was his ability to show great skill in his dramatic art. He de- veloped the dramatic portrait of a character through his arias, each of which express a different type of emotion.

Thus, several arias of one character constitutes the per- sonality of the role portrayed. Recitatives furnish the musical background for the dramatic action in the operas.

In contrast to this, the arias and duets had no dramatic action but were composed only to appeal to the ears of the public in expressing emotions.4 6

To give at least one specific illustration of Handel's dramatic technique, Hugo Leichtentritt briefly analyzed the role of Rodelinda (from the opera, Rodelinda, 1725):

The musical portrait of Rodelinda is completed by summing up the ten arias which fall to her in the opera's three acts. Each aria illustrates one partic- ular trait of her character. Handel takes care not to repeat himself, but to make these ten pieces different from each other, to give every "affetto" its own color and accent, its own emotional stamp.

4 5HCE, Vol. 72, pp. 12!5-132.

4 6 Hugo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians. 15

King Bertarich has lost his throne and apparently his life in a combat with his rival Grimwald. In her First , "Ho perduto il cara sposa," his wife, Queen Rodelinda, mourns the loss of her husband in a noble c minor strain full of pathetic accents, mixed with subdued grief. When the victor, Grimwald, offers to marry her and. make her queen again, she rejects this offer in her second g minor aria, "L'empio rigor del fato," filled with the expression of pride and indignation mixed with sadness. Her third aria, "Ombre piante, urne funeste," is a lament at the urn of the supposedly deceased king, a piece full of womanly tenderness, of affectionate homage. Finally she is forced to listen to Grimwald's wooing, in order to save the life of her young son. In her fourth aria, "Morrai," her wrath and indignation are expressed in tones of flaming violence. Her next air, "Spietati, io vi giurai," has a heroic-pathetic ground-tone, with accents of pride, fortitude, motherly love and indig- nation: a magnificent piece, pointing directly to Gluck, Beethoven and Wagner. Her supposedly dead husband is in reality still living. Rodelinda's sixth aria, "Vive il mio sposo," and her beautiful C major siciliano, "Ritorna o caro e dolce mio tesoro," are full of brightness, hope and joy. But the tone changes when the secret meeting with her husband comes to a close. Their meeting is discovered and the former king is captured again. She takes leave from him in tones of desperate agitation. Their duet, "Io t' abbraccio (in F-sharp minor) has heartrending accents of pain. For the second time she believes her husband dead and laments his loss in a truly grandiose air, "Ahi perche giusto ciel. " When finally King Bertarich emerges victorious, Rodelinda's last aria, "Mio caro bene," overflows with happiness. 7

The orchestration of Handel's operas would probably seem monotonous to an audience accustomed to the brilliance of modern instrumentation. Handel lays a foundation of strings and harpsichord.4 8 Often he adds in unison with the

4 7Hugo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians.

+1 8HCE, Vol. 58, p. 61, i.e. "Lascia ch' io pianga," Rinaldo (1711). 16

0 violins4+9 and in unison with the string basses.

He introduces other instruments only for special effects.

In the aria, "Non fu gia,1 Orlando (1733), two horns were added making an eight-part accompaniment to the voice part. Horns were added only occasionally.

Frequently an aria is accompanied by , or even

the whole orchestra, in unison with the voice without any

bass.5 2 Solo passages for , , or violoncello often occur in the songs, demanding considerable

skill.53 In contrast to the accompanied arias, "Bel piacer"54 from Rinaldo (1711), is an aria that is wholly unaccompanied;

there is not even a bassocontinuo part.

Handel was very careful in his choice of suitable

instrumentation. His orchestra was large and he used much

skill in his use of orchestration. Another interesting observance in Handel's operas is his inconsistency in his vocal distributions. Notice the following distributions of some of the London operas:

49HCE, Vol. 71, p. 63, i.e. "Scioglio d' immorta fronte," Scipione (1726).

5OIbid. 51 HCE, Vol. 82, p. 16.

52HCE, Vol. 58, p. 54, i.e. "Il tricerbero humiliata," Rinaldo (1711).

5 3HCE, Vol. 63, p. 95, i.e. "Casti amori," Radamisto (1720) which has a solo for the bassoon, violin and violen- . HCE, Vol. 59, p. 35, the aria, "Finte labbia," Il Pastor Fido (1712), has an oboe solo.

54HCE, Vol. 58, p. 97. 17

Radamisto (1720): 4 , 1 , 1 tenor, 1 bass. (1721): 2 sopranos, 2 , 2 basses. Giulio Cesare (1724): 2 sopranos, 2 , 1 contralto, 2 basses. Tamerlano (1724): 2 sopranos, 1 contralto, 1 alto, 1 tenor, 1 bass. Admeto (1727): 2 sopranos, 2 altos, 1 contralto, 2 basses. Orlando (1733): 2 sopranos, 1 alto, 1 contralto, bass. Deidamia (1741): 3 sopranos, 1 contralto, 2 basses.

The above distributions show that there is more use of the soprano voice than of any other.

His Operas Today

Although Handel's oratorios are living today, very few of his operas have survived. Yet in Handel's time undoubt- edly they were the best works of their kind that had ever been produced.

Handel confined himself to the accepted forms of his contemporaries, only elaborating but not developing them.

Handel was more interested in writing for his own public than developing the art for the future.55 Arthur James

Balfour in an article from the "Edinburgh Review,"

January 1887, says:

The greatest works which the world has seen have not been dedicated to an unknown posterity, but have been produced to satisfy the daily needs of their age, and have, therefore, of necessity conformed to the taste, and usually to the fashion and the prejudices, of the period which gave them birth. So it was with Handel's operas; and without doubt, but for two accidental circumstances, it is to the production of operas that he would have mainly devoted himself, to the infinite loss of posterity, even to the very end

N5 Abdy Williams, Handel, p. 181. 18

of his career. These two circumstances were the rivalries and quarrels already adverted to, which made it impossible profitably to perform operas and the observance of Lent, wh ch made it possible profitably to perform oratorios. 5 One of the reasons for the non-survival of the operas is the similarity of subjects treated in the same manner. Handel selected classical subjects (such as the history of ), which had been reduced by the librettist to stereotyped characters and situations. The composition of the vocal parts for specific singers proves to be another reason for their disappearance from the stage. Handel composed for individual singers and altered the score himself when others sang the role. Today it would be unusual to find singers who are capable of exe- cuting the more difficult songs. Also, many of the roles are written for castrati voices. Today these voices are extinct.57

6 5 Reprinted in Wilfred Short, "Handel," The Mind of Arthur James Balfour, p. 220.

5 7Abdy Williams, Handel, p. 182. 19

today. 8 Yet Handel's operas are occasionally revived mai fu," from some of the songs have lived, namely, "Ombra more Serse (1738) better known as "Largo." There are many today. songs which could be revived and used in concerts It is hoped that some of the operas may find their way to artists of the the modern stage and become of value to the future.

58Dr. Oskar Eagan, the distinguished historian of art, them at Gdttingen when the First World had produced nine of of War broke out and cut short his ambitious project resurrecting them all. In the United States the scholarly Werner Josten has staged several of them at Smith College. Weinstock, Te Opr p. 47). Giulio Cesare (Brockway and records. has recently been recorded twice on long playing Inc., under (G. F. Handel, Jus Caesar, Handel Society, the direction of Walter Goehr and G. F. Handel, Julius Caesar, Hans Swaronesky, conductor, Akademiechor, Pro- Musica Chamber Orchestra, ), Vox recording. CHAPTER II

THE OPERAS

Almira was first produced January 8, 1705, at

Gansemarkt Opera House in Hamburg, Germany. The libretto contained fifteen Italian airs and forty-four German songs, translated by Friedrich Christian Feustking from an Italian original.1 According to W. S. Rockstro,2 the story is poorly described and utterly devoid of interest. Many of the scenes have been used again in later works, such as the

Sarabande in F in the third act. Six years after its per- formance this Sarabande reappeared in London in the guise of the soprano aria, "Lascia ch' io pianga,3 sung by Isabella Giraudeau in the most successful opera of the age,

Rinaldo (1711).

From a total of eight roles, Almira contains three

sopranos: Almira, Edilia and Bellante. Almira sings nine

arias and one duetto; Edilia, five arias and one duetto;

Bellante, only four arias and one duetto. Thus there are

eighteen soprano arias from a total of forty-seven. There

1 This Italian libretto was written by G. Pancierei. (Alfred Lowenberg, Annals of Opera, 1597-1940, p. 57). 2W. S. Rockstro, The Life of George Frederic Handel, p. 39.

3 HCE, Vol. 58, p. 61.

20 21

are three duettos, each including a soprano part; three , none by the soprano role, and one recitative by

another part.

The soprano voice in this opera is particularly im- portant owing to the fact that the role of Almira has the widest range in all of Handel's operas; the range extends

from c' to c''' .4 Only the aria, "Kochet, ihr Adern,"5 contains her highest and lowest note. This aria, Edilia's

aria, "Der Himmel wird strafen," 6 and "Quella fiamma"7 from Arminio are the only arias in Handel's operas which contain

high c.

Bellante's role has a range from d' - Bb'', which is a wide range compared with the rest of Handel's arias.

Of the three duets Almira's duet, "Spielet ihr

blitzenden Augen,"8 contains the note Bb'' as its highest

note. The other two duets for Edilia and Bellante both

include a'' as the highest note and e' as the lowest.

Handel's second opera, , was first performed in

July, 1707. Unlike the previous opera, Almira, which was

hilli Apel, "Pitch Names," Harvard Dictionary.

5'HCE, Vol. 55, p. 96.

6 Ibid., p. 69.

7 Ibid., Vol. 89, p. 40.

8 Ibid., Vol. 55, p. 109. 22

sung partly in German and partly in Italian, Rodrigo has a wholly Italian text. The librettist is unknown.9

From a total of six roles, this opera contains four

soprano roles: Rodrigo, Esilena, Florinda and Evaneo.

Rodrigo sings six arias and one duet; Esilena, eight arias

and one duet; Florinda, four arias, and Evaneo, six arias.

There are thirty-two arias, twenty-four of which are sung by

the soprano voice. Esilena and Rodrigo sing the only duet,

"Prendo 1' alma prendo il core." 1 0 The range in this duet

extends from d' to a'', with Esilena singing the highest

note, att. Rodrigo's highest note in the duet is g''.

The range in Rodrigo's six arias extends from d' to a'', with the very first aria of the opera, "Pugneran con noi le

stelle,"l including his only a''. The role of Esilena ranges from e' to a'' with three of her arias containing the

a''. The role of Florinda includes the widest range of the

four soprano roles; the range is from d' to Bb''' The aria,

"Alle glorie, alle palme," 1 2 contains the only Bb'' in the

whole opera. The last soprano role, Evaneo, has the same

range as the role of Esilena.

9 Newman Flower, George Frederic Handel, p. 83.

1 0 HCE, Vol. 56, p. 91. 1 2 Ibid., p. 13.

12Ibid., p. 74. 23

The opera, Agrippina, was completed December 26, 1709, in Venice, Italy, and was presented there for twentyseven performances. The text was written by Cardinal Vincenzo

Grimani. This opera was Handel's only opera produced in

Italy during his three years stay there.

This opera and the opera, Guistino (1737), contain nine

roles, which is more than in any other of Handel's operas.

From a total of the nine roles, three are sung by the sopra-

nos: Agrippina, Nerone and Poppea. There are thirty-seven

arias, twenty-two of which are sung by soprano roles:

Agrippina, eight; Nerone, five and Poppea, nine. Nerone

sings the only soprano arioso, "Qual piacer a un cor

pietoso";1 3 the other one is performed by another role. The two ariettas, one recitative and the one trio are also

sung by other roles. The quartet, "Il tuo figlio,"11l con-

tains parts for Agrippina and Nerone.

Poppea has the highest range in the opera; her range

extends from d' to b''. Agrippina sings to a'' and Nerone

to g''.

Poppea's aria, "Se guinge un dispetto,"1 5 is one of her

most difficult arias, with much use of ornamentations. This

aria is her highest in range.

1 3 HCE, Vol. 57, p. 22 1+Ibid., p. 25.

15Ibid., p. 57. Nerone's most difficult aria appears to be "Sotto il lauro che hai sul crine,"16 also with difficult ornamen- tations.

Rinaldo, the first Italian opera that Handel wrote for

London, was first brought out on February 24, 1711, in the

Haymarket Theater and was one of his most sucessful works for the stage. The author of the poem was an Englishman,

Aaron Hill, then the Director of the Haymarket Theater. It was translated into Italian by .

From a total of seven roles, this production included three for the soprano: Almirena, sung by Isabella Giraudeau;

Armida, sung by Elisabetta Pilotti Schiavonetti; and

Rinaldo, sung by Nicolini,17 (Nicolino Grimaldi) a castrato. On December 30, 1714, Rinaldo was revived with Diana Vico, a new female singer from Italy, taking the part of Rinaldo.

In the production on January 4, 1715, Nicolini returned in the role of Rinaldo.18 The 1717 production remained the same for the soprano roles, except for the role of Almirena, which was sung by .1 9

1611CE, Vol. 57, p. 77.

17 Nicolini had a remarkably fine soprano voice which dropped to a rich contralto. (Newman Flower, G. F. H p. 105). This was Handel's only opera in which he sang a soprano role. 18 Charles Burney, A General History of Music, II, p. 694.

191bid., p. 699. 25

In 1731, Handel again revived the opera, but his singers were then so different from the previous revival that, with the exception of Almirena and a few minor parts, all the solos had to be rewritten. In the action, as well as in the choice of songs, important alterations were made.2 0

In this version of the opera, there are only twenty- eight arias, with only four sung by Almirena. There are also three duets in this version, with only two containing one soprano each, and two recitatives with one sung by the soprano.

In the first version of the opera there is a total of thirty-one arias, seventeen of which are sung by sopranos;

Rinaldo, eight; Armida, five; Almirena, four. There are three duets, two2 1 of which are for two sopranos: Armida and Rinaldo. The third duet, "Al Trionfo del nostro furore," 2 2 is sung by Armida and a bass. This is the only duet in Wandel's operas that is sung by a soprano and a bass. The one recitative in the opera is sung by Armida.

2 0 HCE, Vol. 58, Introduction.

2 1HCE, Vol. 58, pp. 65 174, i.e., "Fermati! Armida son fedel," and HCE, Vol. 5, pp. 35, 149, i.e.,"Scherzano sul tuo volto."

22 0HCE, Vol. 58, p. 93. 26

The best-known aria in the opera is "Lascia ch' io pianga,"2 3 sung by Almirena in both versions. Handel had previously used it first as a saraband in Act III of Almira

(1705) and again as "Lascia la spina" in Il. Trionfo dal

Temno (1708).24 The range extends only from f' to g''.

Handel uses two violins, a and a bass as accompani- ment, which is very common in his soprano arias.

A lesser-known aria of Almirena, "Augelletti, che cantate, zefiretti,t125 has an adagio tempo and includes twenty-five measures of introduction before the soprano voice begins. The range of the aria is the same as that of

"Lascia cht io pianga." The extent of Almirena's part is from e' to a'' with two of her arias and one duet containing her highest note a''.

Rinaldo's touching aria, "cara sposa,1126 is another outstanding aria. In the original version of the opera

2 3 HCE, Vol. 58, pp. 61, 168. Also found in Knud Jeppesen, LaFlora, I, p. 41, and Frank LaForge, Pathways of Songs, II, p. 48.

2Hugo Leichtentritt, "Handel," Th eInternational Cyclo-edia of Music and Musicians. 25 HCE, Vol. 58, pp. 31, 147. According to Burney, there is, in the original score preceding this aria, a long symphony of twenty-one bars for octave flutes (in imitation of birds) which is not printed. While this was playing, the sparrows were let loose. (Charles Burney, A General istoy of Music, II, p. 674.

26HCE, Vol. 58, pp. 39, 152. 27

where Rinaldo was sung by the soprano, INicolini, the aria

is in the key of e minor with the range from b to e''. In

the second version of the opera, for the same reason, the

aria was transposed to d minor (range a-d''). Rinaldo's

range extends from a to a'' with only one aria, "Molto voglio, "27 containing his highest note.

On November 26, 1712, Handel furnished the English

stage with a second opera, I_. Pastor Fido, or The Faithful

Shepherd. This drama, which was written by Giacomo Rossi,

author of Rinaldo, includes six roles, three by the soprano

voice, one of which is sung by a castrato. The roles are:

Mirtillo, performed by Cavaliere Valeriano Pellegrini, the

castrato;28 Amarilli, by Pilotti Schiavonetti; and Eurilla,

by Margarita de 1' Epine.

Mirtillo sings six arias and one duet; Amarilli, three

arias, one recitative and one duet; and Eurilla, five arias.

There is a total of twenty-three arias, fourteen of which

are sung by sopranos; one duet, both by sopranos, Amarilli

and Mirtillo; and one recitative, sung by Amarilli.

2 7 HCE, Vol. 58, pp. 29, 116.

28Nicolini had returned to Italy and the part of Rinaldo was given to a recent arrival from Italy, Cavalier Valeriano, "an artificial soprano of poor execution." (Newman Flower, George Frederic Handel, p. 114). 28

The first air for a soprano, "Fato crudo, amor

severo," 2 9 is accompanied by a viol6ncello; but Handel

always contrives to make this single accompaniment inter-

esting without overwhelming the voice part or depriving it

of attention. The next air, "Augelletti, ruscelletti, che

cantando,"3 0 for the same singer, had not even a bass to

accompany the voice part, which is doubled by the violins

in unison. Burney says, "this purity and simplicity are

exquisite and would always be pleasing to an audience, as a

contrast to ri.ch harmony and contrivance; but some of these

airs are now too trivial and far advanced in years to

support themselves totally without harmony.?"31 Another air

for Kirtillo, "Lontan del mio tesoro struggo 1' amante

cor," has only a violoncello accompaniment. In 1732, this

air was introduced in the opera of Ezio (1732) with dif-

ferent words as appears from a pencilled memorandum made by Handel himself in the score.3 3

The role of Mirtillo ranges from d' to a'' with three of his arias containing his highest note. Mirtillo sings the only duet with Amarilli, both having the same range, d' to g''.

29 HCE, Vol. 59, p. 13. 3 0 Ibid., p. 140

3 1Charles Burney, A General Histor of Music, II, p. 682. 32HCE, Vol. 59,. p. 20. 3 3 Burney, 2p. .i., p. 682. 29

The range of Amarilli extends from d' to atl, the same at Mirtillo's range. The role was first performed by

Pilotti Schiavonetti. Her first aria, "Son come navi- cella,"34 has no accompaniment but a busy bass which, if doubled, would be a strong independent voice instead of an accompanying part. The fourth air, in Act II, "Finte labbia," 3 5 has a solo part for the oboe. Margarita's first aria, "Di goder il bel ch' adoro si lusinga,"3 6 in the role of Eurilla, is accompanied by two violins, tenor and bass, and requires more rapid execution than any other in the first act. Another air for Eurilla,

"Ritorno adesso amor,"3 7 has solo parts for two oboes. The

style is a fugue upon two subjects and is a very masterly

composition. This style of writing has been long banished

from the opera as undramatic, for the voice part loses its

superiority. This pastoral drama was performed but four

times.

According to Burney, Handel had at this period no

really great singer. Valeriano was only second rate and

Margarita had "lost the charms of novelty."38

3VHCE, vol. 59, p. 17. 35 Ibid., p. 35.

3 6 Ibid., p. 21. 37Ibid., p. 50.

38Charles Burney, A General History of Music, II, p. 684. 30

The composition of Teseo, Handel's only opera in five acts, was completed on the nineteenth of December, 1712, and was first performed in London on January 10, 1713.

Handel, at the time of composing this opera, resided with

Richard Boyle, the Earl of Burlington, a distinguished art patron, to whom the drama is dedicated. The libretto was written by Nicola Haym.

Teseo differs from the other operas because there are five soprano roles. Only one other opera, Faramonda (1738), can boast of the same distinction. There are a total of eight roles in Teseo, and the five sopranos are: Teseo,

Agilea, Medea, Clizia and Yinerva. The part of Minerva probably never came on in person because when four sopranos were employed there was no voice left to perform the part.

According to the introduction of Handel's Werke (BCE), it must have been taken by an invisible singer in the bass (for which it was subsequently altered, as appears in the appen- dix of the score). 3 9 Minerva's only contribution to the opera is a very short aria at the end of the last act. The aria has a range from f' to g''.

There are twenty-seven arias, twenty of which are sung by a soprano voice; two ariosos, both by sopranos; four duets, each containing a soprano part; and three recita- tives, all by a soprano voice. Teseo sings five arias, one

3 9HCE, Vol. 60, p. 112 (Appendix). 31

arioso and one duet; Agilea, seven arias and one duet; Medea, five arias, one arioso, one duet and three recitatives;

Clizia, two arias and two duets; and Minerva, one aria, which has been mentioned in the above paragraph.

The first air, "E pur bello,"40 for Agilea, was com- posed for Margarita de 1' Epine and has much ornamentation,

as well as solo parts for the two principal violins. The whole first part of this song is richly accompanied but the

second part has only a bass accompaniment. The second air,

"Deb serbete,"4 was likewise.written for Agilea but is in a very different style; it is an andante with a solo part for

the oboe, and two violins echoing each other throughout the

air in short passages of semiquavers. The air, "'M' adora It

idol mio,tt4 2 terminates the first act. According to Burney,43

this aria is extremely well written. Since the other

instruments are not idle in this song, it required the

voice and energy of an Agilea strong enough to battle them

and still preserve her vocal superiority. As there is no

great poetical beauty in the words of this air, the voice

40HCE, Vol. 60, p. 10. Ilbid., p. l4.

4 2Ibid., p. 25.

43Charles Burney, A General Eistory of Music, II, p. 686.

44 Galliard, an excellent musician, played the solo part for the oboe. (Charles Burney, A General History of Music, II, p. 686). 32

part might be performed by another oboe, a flute or a violin as an instrumental movement without any great loss to the hearer. According to Weinstock,45 Agilea's aria,

"Vieni, torna,"46 is one of Handel's most seductive love songs. The part portrayed by Agilea represents woman with great passion for her lover. The range of Agilea in all her arias extends from d' to a''.

The role of Teseo is performed by Valeriano, the only

castrato of the five soprano roles. His range extends from

d' to a'', the same as Agilea's, with his only duet, "Caro!

ti dono in pegno il cor,"'+7 containing his only high a."

Teseo is a character fired with every emotion known to man.

Handel demonstrated that he understood human desire more

truly in Teseo than in any other of his characters in his

early works. Teseo's first aria in the opera does not appear until the middle of the second act. The following

air, "Yon so piu che bramar"9 is also for the same singer.

Act IV includes an aria, "Qual tigre," 5 0 of rare and

resentment whose accompaniment in iterated notes is

uncommon.

4 Herbert Weinstock, Handel, p. 65.

46HCE, Vol. 60, p. 56. 47Ibid., p. 84.

48Ibd..,p. 44. 49Ibid., p. 45.

5OIbid., p. 81. 33

The second act opens with a charming cavatina, "Dolce riposo,t5 l sung by Pilotti Schiavonetti in the character of

Medea. Accompanied by an oboe and two violins, this air is rich in harmony and pleasing in effects. The next air for the same singer, "Quell' amor,",5 2 is wholly in a different style but admirable of its kind; it is clear, natural, phrased, and has a bass superior to the principal melody, which, however, has not been sacrificed to the instruments.

The last air of this act, "0 stringero nel sen," 5 3 sung by the enraged Medea, is full of fire and dramatic effects.

Act III contains an accompanied recitative that illustrates

the wild and savage fury of the enraged sorceress, Medea.

This is followed by her air, "Sibillando ululando," 5 4+which

ends the third act but not the drama, a technique that was

contrary to the practice in Italy and elsewhere during the

eighteenth century. As previously stated, this opera has

five acts. Medea's last aria5 5 in the opera opens the fifth

act. This aria is of great difficulty. It is in five

sections and is supported by Handel's great genius. Medea's

5 1 HCE, Vol. 60, p. 30. This air does not have a second part.

52Ibid., p. 32. 5 3 bid., p. 48.

5'4Ibid., p. 65.

5 5Ibid., p. 90, i.e., "Moriro, ma vendicata." 34

range is from d' to ab'', with her last aria containing her only ab''.

According to Burney, 5 6 the character Clizia was written

for a second or third class singer of no great abilities.

Clizia's range extends from d' to g''.

Aaadigi was first performed in London on May 25, 1715.

The original manuscript is lost and with it the date of

composition. The conducting score, however, gives the music complete. The author of the libretto is unknown.

From a total of five roles, this opera contains two

soprano roles: Oriana and . There are twenty-two

arias, ten of which are sung by a soprano voice; one

arioso by Melissa; two recitatives, with only one sung by a

soprano, Melissa; and two duets, both including one soprano

role.

The first soprano aria, "Ah Spietata e non ti move,"5 7 was sung by Pilotti Schiavonetti, portraying the role of

Melissa. This aria has a fine solo part for the oboe which

is in dialogue with the voice part while the two violins,

tenor and bass have a quiet accompaniment in the modern

style of iterated notes. The second. section is quick and

full of agitation and fury. The next air for Melissa, "Io

5 6Charles Burney, A General History of Music, II, p. 685.

57 HCE, Vol. 62, p. 17. 35

godo scherzo e rido," 8 full of rage and fury, is character-

istic of her role as a sorceress. Melissa's range, like most of Handel's soprano roles, extends from d' to a'', with only one aria, "Ch' io lasci mai d' amare il caro mio

tesoro,"'9 containing her only a''. Anastasia Robinson portrayed the role of Oriana whose first aria in the opera is "Gioja venita in sen."t60 Burney

states:

This aria is one of the most graceful and pleasing arias that has ever been composed in the Siciliano style. Every note in the accompaniments is so select and tranquil that the voice, wholly undisturbed, is left to expand in all the tenderness and expression that the air itself excites. Another air for Oriana, "S' estinto el' idol mio," is one of the finest that Handel ever produced in his best and most masterly style: the pathetic subject, the natural and pleasing imitations in the instrumental parts, the richness of the harmony, the affecting modulation, particularly in the second part; but above all, the strain of sorrow which runs through every passage of the voice-part, all conspire to render it one of the most perfect compositions of the kind.

Oriana's range extends from eb' to ab'', with the aria,

"Gioja venite in sen," containing her only ab''.

At this time Nicolini had returned to England as a

contralto. He sang the contralto role, Amadigi, in this

opera.

58HCE, Vol. 62, p. 37. 59 bid.. ,p.69.

60Ibid., p. 28.

6 lCharles Burney, A General History of Music, II, p. 696. 36

According to Burney,62 this opera has more invention, variety and good composition than any one of Handel's musical dramas.

Radamisto, produced April 17, 1720, was the first of the operas composed for the new opera house, The Royal

Academy of Music, better known as the Haymarket Theater.

The text was written by Nicola Haym. A change in the personnel forced Handel in 1728 to make alterations in the opera by rewriting some of the pieces and adding new ones.

The opera was revived and altered for the singers, Faustina

Bordoni and Senesino,63 contralto, who sang the part of Radamisto, a soprano role in the original version.

Of the seven roles in the original version, four are sopranos: Radamisto, Polissena, and Fraarte. The

1738 version has only six roles, three of which are sung by the soprano voice: Zenobia, Polissena and Tigrane. The role of Radamisto was changed from a soprano to a contralto role; Zenobia, contralto to soprano; Polissena and Tigrane both remaining sopranos, while Fraarte was left out entirely in the later version.

The original version contains twenty-five arias, seventeen by a soprano: Radamisto, six; Polissena, four; Tigrane, three; and Fraarte, four. There are three ariosos,

62FC,Vol. 62, p. 63. 63 His real name was Francesco Bernardi. 37

with Polissena singing the only soprano arioso. The one

duet in this version is sung by Radamisto, soprano, and

Zenobia, a contralto.

The later version contains nineteen arias, eleven by a

soprano: Zenobia, three; Polissena, four; and Tigrane,

four. The one duet is sung by Zenobia, soprano, and

Radamisto, contralto. This duet is not the same duet as

the one in the original version. The one recitative in

this version is sung by another part (Radamisto, contralto).

The range of Zenobia's role contains the highest note

in the opera, Bb'' , in her aria, "Fatemi, oh cieli, almen,"64

which is found only in the later version. Her entire range

extends from d' to Bb''. Polissena and Tigrane both have a

range of e' to a''. Radamisto's range is d' to alt and

Fraarte's range is e' to g''.

The best known aria in the opera is "Ombra cara," 65'

sung by Radamisto. According to Burney,66 it is regarded as one of Handel's finest vocal compositions for a single

voice. The air, "Sposo ingrato," 6 7 for Polissena, is also

worthy of mention. In Radamisto this air was designated for

6 HCE, Vol. 63, p. 170. 6 5 Ibid., pp. 43, 143. fMusic, II, p. 702. 6 6 Burney, A General History _

67 HCE, Vol. 63, p. 90. 38

Margarita Durastanti6 8 and a large orchestra with solo parts not only for the violin but for the oboe, bassoons and the violoncellos. The words of this aria are omitted in the later version.

In 1722, Radamisto was staged in Hamburg by Johann

Mattheson under the name of Zenobia after its heroine. A

German translation was used but the Italian arias were retained.6 9

On March 23, 1721, the composition of was completed and the first presentation of the opera took place at Covent Garden Theater on April 15th of the same year. The libretto was by Paola Rolli, Italian secretary of the Royal Academy of Music.

Muzio Scevola was a drama that was chosen by the

Academy to be set by three composers: Filippo Mattei, a violoncellist in the orchestra, was assigned the first act;

Giovanni Battista Bononcini, the second; and Handel, the third. Handel tried diligently to establish pre-eminence among his colleagues. This was dedicated to the

King (George I) and the original score of Handel's portion

6 8Duranstanti, soprano, was renowned for her imper- sonations of male characters. (Herbert Weinstock, Handel, p. 93).

69 Brockway and Weinstock, The Operal p. 38, and Abdy Williams, Handel, p. 75. 39

is still preserved in his Majesty's collection of this great musician's manuscripts.70 The third act, Handel's portion, is similar to a complete opera as it contains an overture and a final chorus giving it a beginning, a middle and an end in the manner of an entire drama.

From a total of seven roles, three are sung by the soprano voice: Clelia, Orazio and Fidalma. There are ten arias, four of which are sung by the sopranos: Clelia, two arias; Orazio, one aria; and Fidalma, one aria. The opera contains three recitatives with only one performed by a soprano role (Clelia), and two duets each containing a soprano role. Orazio sings the duet, "Vivo senza alma, oh bella," 7 1 with Irene, an alto. Clelia sings the other duet,

'ya come amar?"7 2 with Muzio, a contralto.

The first air in the third act, "Lungo pensar,"7 3 has a violin accompaniment of a different character from the voice part and was composed for Durastanti who had the principal female part (Clelia) in this opera. Her range in this act extends from d' to g''. The duet, "Ma come amar?" for the two principal characters, Duranstanti and Senesino, singing the part of Muzio, is written in a fugue style throughout the composition.

7 0HCE, Vol. 64, p. 1. 71Ibid., p. 51+.

72 Ibid., p. 60. 7 3 Ibid., p. 6. The air, "Non ti fidar,"71 was composed for Anastasia

Robinson in the role of Fidalma. The oboes play all her passages in unison which is proof that Handel did not con-

sider her a steady performer.7 5 This air seems to be the least captivating in the whole act. Her range extends from

f' to Bb''. According to Burney,76 Robinson also sings the following air, "Come, se ti vedro, cara, partir potro?"7 7 which is an aria for the role of Orazio, according to the index of G. F. Handel's lerke (HCE). From this fact a con- clusion can be drawn that Anastasia Robinson sang both roles, Fidalma and Orazio. It was unusual for a leading

singer to sing two roles, but here it would have been possible since each of the two roles has but one aria and neither takes part in any ensemble.

Floridante was first performed on December 9, 1721, in the opera theater of the Royal Academy of Music. The

libretto was written by .

From a total of six roles, this opera contains two

soprano roles: Timante and Rossane. There are a total of thirty-one arias, fourteen of which are by sopranos:

Timante, five arias, and Rossane, nine arias. There are

4HCEVol. 61+, p. 29.

75Burney, A General of NistoryMusic, II, p. 714.

76 Ibid. 7 7 HCE, Vol. 64, p. 33. 41

two duets, only one of which, "Fuor di periglio, " is sung by both the sopranos. Two ariosos and two recitatives are performed by other parts.

The role of Rossane has the common range from d' to a''.

In the duet, "Fuor di periglio," both Rossane and Timante sing a'' as their highest note. This duet attempts to express the cooing of the dove.7 9 Timante's range extends one-half note higher to Bb''. Through an alteration made by

Handel, the revised aria, "Lasciate, oh bella il volto, 8 0 contains Timante's high Bb''. The Bb'' appears very fre- quently in this version of the aria, making it more diffi-

cult than the original aria. The range of the original

aria is from f#' to g''.

On January 12, 1723, the Royal Academy of Music was

presented with the opera, Ottone, with a libretto by

Nicola Haym.

From a total of six roles, there are two soprano roles:

Teofane and Gismonda. There are forty arias, fourteen of which are sung by the soprano voice: Teofane, nine arias,

and Gismonda, five arias. The opera contains two ariosos,

one sung by the soprano, Gismonda; three recitatives,

76 HCE, Vol. 65, p. 65.

7 9 Burney, A General History of Music, II, p. 719.

80HCE, Vol. 65, p. 46, and the revised aria, p. 130. Teofane singing the only one for a soprano voice; and two duets, both of which have a soprano role. Gismonda sings the duet, "Notte cara,",8 1 with the contralto, Matilda, and

Teofane sings the other duet, "A' teneri affetti il cor s' abbandoni, ,82 with the contralto, Ottone. The one arietta in the opera is sung by another voice.

From examination of the musical score, the range of the role of Teofane is d' to Bb''. Francesco Cuzzoni performed the role. The range of Gismonda is c#' to g'' and was first performed by Duranstanti.

The number of songs in this opera that became national favorites is perhaps greater than in any other that was ever performed in England. 8 3 The air, "Falsa. imagine," the first that Cuzzoni sang in England, "fixed her reputa- tion as an expressive and pathetic singer," according to

Burney.8 5 The airs for Durastanti, "La speranza"8 6 and

"Penza ed amare,,,8 were favorites with all the performers on the German (i.e. modern) flute in England which about that time superseded the common flute (i.e. recorder) and became the fashionable gentleman's instrument.

81HCE, Vol. 66, p. 78. 82Ibid., p. 118.

8 3Burney, A General Eistory of Music, II, p. 722.

84HjCE,Vol. 66, p. 22. 8 5Burney, U. cit., p. 722.

86 HCE, Vol. 66, p. 17. 8 7 Ibid., p. 35- The light and gay duet, "Teneri affetti,"88 sung by

Teofane and Ottone, was long a favorite with flute players.

This duet was written in what was at that time called the

"Lombardic style" (i.e. a rhythm with inverted dotting such as an accented sixteenth note followed by a dotted eighth note).

The composition of was finished on May 7, 1723.

It was first performed on May 14th of the same year in the opera theater of the Royal Academy of iusic. The words were written by Nicola Haym.

From a total of seven- roles, two are by the soprano voice: Emilia and Vitige. There is a total of twenty-two arias, eight of which are by sopranos: Emilia, five arias, and Vitige, three arias. One arioso is sung by Vitige; one duet between Emilia and another part, and one recitative by

Emilia.

Burney states that "the subject of the duet, "Deh pardona,"8 9 is still new and graceful, though the divisions, as usual in old music, have been long since worn out. "9 0 The duet is sung by Emilia, performed by Margarita Duranstanti, and the contralto role, Guido. The range of Emilia in the duet extends from a' to f''. Her range in the entire opera

88 HCE, Vol. 66, p. 118. 6 9HCE, Vol. 67, p. 79.

90Burney, A General History of Music, II, p. 724. is from e' to b''. Vitige, performed by Cuzzoni, has a range from d' to g''.

This opera is less renowned than many other of Handel's dramatic compositions and there are no outstanding arias in the opera.

Giulio Cesare9 1 was written near the end of the year

1723, and was first produced on February 20, 1724,92 in the opera theater of the Royal Academy of Music. Nicola Haym wrote the words.

From a total of eight roles, two are sung by the soprano role: Sesto Pompeo and . There are thirty-seven arias in the opera, thirteen of which are sung by sopranos: Sesto, seven arias, and Cleopatra, six arias.

From the four recitatives, two are sung by Cleopatra.

There are two duets which are sung by a soprano and a con- tralto. The duet, "Son nato a sospirar, e il dolce,"9 3 is sung by Sesto and Cornelia, contralto. The other duet,

9 1This drama was dedicated to the Princess of Wales who, in October 1727, became Queen Caroline. Her husband succeeded his father to the throne as George II. (Charles Burney, A General History of Music, II, p. 725).

9 2 According to Williams, Handel, p. 82, and Streat- field, Handel, p. 95, the date of the first production of Giulio Cesare was Feb. 20, 1724; but, according to Dent in his Handel, p. 70, the date was Feb. 14, 1724.

93 HCE, Vol. 68, p. 48. "Carol piu amabile belta mai non,"t94 is sung by Cleopatra and Cesare, contralto.

The air, ","9 5 was first composed for Durastanti in the role of Sesto, son of Cornelia, who was the widow of (Gnaeus Pompeius). As mentioned before, in footnote 68, p. 38, Durastanti was renowned for her impersonations of male characters. In this aria Handel has made use of octaves in the treble parts of the accom- paniments. The role of Sesto has a range of c' to a''.

The air, "Se pieta,096 for Cleopatra, Queen of Egypt, was written for Cuzzoni. This aria is preceded by a symphony through which a chorus of conspirators is heard at a distance. Her range in the opera extends from e' to b''. The duet, "Caro piu amabile beta mai non, "9 7 con- tains her only b''.

In 1725 Handel revised the opera and Francesco

Borosini replaced Durastanti. Because Borosini was a tenor, this revision contained only one soprano role, Cleopatra.

In the appendix of G. F. Handel's Werke (HCE), pp. 143 and

154, there are two arias for Sesto in the tenor clef which

Handel revised for Borosini.

9 CE, Vol. 68, p. 128. 9 5Ibid., p. 17.

96Ibid., p. 83. 97Ibid., p. 128. 46

According to Lowenberg,98 Giulio Cesare and Rodelinda were Handel's most successful operas.

On October 31, 1724, a new drama called Tamerlano was presented in the theater of the Royal Academy of Music.

Nicola Haym dedicated this drama to the Duke of Rutland not only because of his directorship in the Royal Academy of

Music, but also because as a nobleman he had rendered himself a most intelligent judge of both the theory and practice of the art of music.9 9 Handel wrote the music of the opera in twenty days.

From a total of six roles, there are two soprano roles:

Asteria and Irene. There are thirty-two arias with only eight sung by sopranos, four each by Asteria and Irene.

There are three recitatives, from a total of twelve, sung by Cuzzoni, who has the role of Astoria. The arioso,

"Folle sei, se lo consenti,"1 0 0 sung by Asteria, is the only one from a total of four sung by a soprano. Two duets, from a total of three, include one soprano each. Asteria sings the duet, "Vivo inte, mio caro bene," 1 0 1 with Andro- nico, a contralto. Irene performs the other duet, "Vedro chl un di si cangera,"1 0 2 with Tamerlano, an alto. The one

98 Alfred Lowenberg, Annals of Opera 1597-194o, p. 77.

9 9 Burney, A General History of Music, II, p. 729.

1 0 0HCE, Vol. 69, p. 116. 10 1Ibid., p. 102.

1021bid., p. 123. 4+7

trio in the opera, "Escoti i cor, saro contentatilO 3 is

sung by Asteria, Tamerlano and Bajazet, a tenor.

The role of Irene was portrayed by Anna Dotti. Her range extends from d' to g'' and Asteria's range is d' to a''.

The composition of Rodelinda was completed on January

20, 1725, and on the thirteenth of February of that year it was performed in the opera theater of the Royal Academy of

Music. The text was written by Antonia Salvi (first com- posed by Giacomo Antonio Perti in 1710) and altered by Nicola Haym.

There is only one soprano role in this opera from a total of six roles; Rodelinda, which was performed by

Cuzzoni. Rodelinda sings nine arias from a total of thirty- one and sings a part of both duets. The opera contains three recitatives and one arioso none of which is by the

soprano role.

Rodelinda has a range of d' to Bb''. Her second aria,

"L' empio rigor del fato,1104 is the only aria that con- tains her lowest note, d', and her highest note, Bb''. Her only duet, "Io t' abbraccio, e piu che morte sapro,"l05 is sung with Bertarido, a contralto.

10 3 FCE, Vol. 69, p. 116.

10'+HCE, Vol. 70, p. 8.

1051bid. A difference in emotions and feelings is felt in each aria, which portrays in Rodelinda some special trait of

character. No repetitions are made, as Handel tried to

evade this in forming different representations of emo-

tions.106

Cuzzoni made such a sensation in the role of Rodelinda

that the brown silk dress embroidered with silver which she wore became the fashionable custom for the rest of the

season.1 0 7

The composition of Scipione was completed March 2,

1726, and was produced as early as the twelfth of the same

month. The words are by Paolo Rolli.

According to the personnel of the opera, from a total

of seven roles, there are three soprano roles: Lucejo,

Berenice and Armira. To judge from the music itself, the

role of Lucejo is actually the role of a contralto as the

range extends from Bb to d'' and Senesino, a contralto,

sang the role. Thus there are really only two soprano

roles from a total of seven: and Armira.

The opera contains thirty-three arias, eleven of which

are sung by the sopranos: Berenice (nine) and Armira (two).

Berenice sings the only soprano arioso from a total of

10 6 Hugo Leichtentritt, "Handel," The International Cyclopedia of Music and Musicians.

1 0 7 Abdy Williams, Handel, p. 84. 49

four. She also sings the only recitative for soprano from

a total of three recitatives.

On occasion of the opera's repetition in 1730, some

alterations and transpositions into other keys were re-

quired. The role of Armira was changed from a soprano to

an alto role. In the appendix of G. F. Handel's Werke

(HCE), page 124, the aria, "Libera chi non e i lacci del

suo pie,"108 for Armira is transposed into the alto clef.

The role of Berenice which has a range from d' to a'',

was written for Cuzzoni. Many of her arias have varied

accompaniments, such as: "Dolce auretti,"1 0 9 with only a violoncello accompaniment and "Sciolio d' immorta fronte," 0

with three violins, two oboes, tenor, bassoon and bass.

The role of Armira, whichhas a range from e' to a'',

was written for Constantini who, according to Burney,ill

was considered a contralto yet, according to the musical

score, the role is for a soprano. If these arias have been

altered since the first production of the opera, it has not

been noted in either the introduction or appendix of G. F.

Handel's Werke (HCE).

The composition of Alessandro was completed on April

11, 1726, and was produced on the fifth of May in the same

108HCE, Vol. 71, p. 19. 10 9 Ibid., p. 23.

110Ibid., p. 63.

lllBurney, A General Fistory of Music, II, p. 734. 50

year at the Royal Academy of Music in the Haymarket Theater. The words are by Paoli Rolli.

From a total of seven roles, two are sung by the soprano role: Rossane and Lisaura. There are twenty-seven arias, twelve of which are by the soprano voice: Rossane

(six) and Lisaura (six). From the six recitatives, four are sung by Rossane and two by Lisaura. There are three duets in which Rossane sings two and Lisaura two. The duets, "Son d' Amore nella face calma,"1 1 2 both Rossane and

Lisaura sing; "Amar m' e forza ognor,ttll3 Lisaura sings with Alessandro, a contralto; and "Se ve bellezza in me, son bella," Rossane sings with Alessandro.

This opera is important because it is the first in which Fasutina Bordoni, a famous mezzo-soprano, appeared in the role of Rossane. She lived from 1693 to 1783, making her home in Venice. In 1729 she became the wife of Johann

Adolph Hasse, a Venetian composer who lived from 1699 to

1738. Burney inserts a description of Faustina by an excellent and unprejudiced judge, Quantz, who frequently was present at the performance of this opera in London during its first run in 1727.

Faustina had a mezzo-soprano voice, that was less clear than penetrating. Her compass was only from B flat to G; but after this time, she extended its

'1 2HCE, Vol. 72, p. 52. 1131bid., p. 125.

ll+Ibid., p. 126. 5l

limits downwards. She possessed what the Italians call "un canter granito"; her execution was articulate and brilliant. She had a flint tongue for pronouncing words rapidly and distinctly, and a flexible throat for divisions, with so beautiful and quick a shake that she could put it in motion upon short notice, just when she would.. The passages might be smooth, or by leaps, or consisting of iterations of the same tone, their execution was equally easy to her as to any instrument whatever. She was doubtless the first who introduced, with success, a swift repetition of the same tone. She sung adagios with great passion and expression, but was not equally successful, if such deep sorrow were to be impressed on the hearer, as might require dragging, sliding, or notes of synco- pation, and tempo rubato. She had a very happy memory in arbitrary changes and embellishments, and a clear and quick judgment in giving towards their full power and expression. In her action she was very happy; and as she perfectly possessed that flexibility of muscles and features which constitutes face-playing, she succeeded equally well in furious, amorous, and tender parts- in short, she was born for singing and for acting.1lW

Francesca Cuzzoni, who sang the role of Lisaura, lived from 1700 to 1770. She displayed such unusual abilities that it was difficult for the hearer to determine whether she excelled most in slow or in rapid airs. According to

Quantz,1 1 6 Cuzzoni had a very clear, soprano voice which displayed pure intonation and fine trills. She possessed no warm feeling in her action and appeared less attractive on the stage than Faustina. W. S. Rockstro cites the following:

The general belief was that Faustina and Cuzzoni each received 2000 lbs. per annum; but one account says that Faustina received 2500 lbs. Hawkins tells us

11 5 Burney, A General History of Music, II, pp. 745-746. 116Ibid., p. 745. 52

that Cuzzoni had taken a solemn oath never to sing for a less sum than Faustina; and that the Directors, wishing, after a time, to dismiss her, offered her 2000 guineas, and Faustina 2001, whereupon she retired from her engagement. But the story is scarcely con- sistent with Inown facts."1?

Handel had the difficult task of writing for both

Faustina and Cuzzoni in such a manner as to favor neither at the expense of the other. He caused them both to appear at once in the recitative, "Che mirai,1118 for two voices in which Rossane and Lisaura, the two mistresses of Alessandro,

expressed their love and jealousy. He managed that the

arias for each should be so suitable to their respective

excellences that each obtained equal applause, while in a

duet each voice had alternately the principal part.1 1 9

Faustina's first air, "Lusinghe piu care,"' 20 ranging

from d' to g'', became a national favorite. Though there is

no dignity in the subject, it is light and airy. She dis-

played great neatness of execution and performed the air

with rapidity and precision which was uncommon at this

period. The second air, "Un lusinghiero,"J 2 1 with a range

of e' to g#'', has several passages which were used by

117W. S. Rockstro, Handel, p. 146.

l1 8 HCE, Vol. 72, p. 15.

1 1 9 Abdy Williams, Handel, p. 90.

120 HCE, Vol. 72, p. 20. 1 2 1Ibid., p. 41. 53

other composers many years later.1 2 2 The words in the aria,

"Alla sua gabbia d' oro,1 2 3 are ingeniously expressed both in the voice part and in the accompaniment. The rangecf the air is from d' to f#'' and contains many difficult trills. In the aria, "Brilla nell alma un non inteso ancor,,n1214 also for Faustina, the divisions are long and rapid, and there is a quiet pulsative accompaniment.

Faustina's range in the whole opera extends from c' to ab''.

Cuzzoni's range in the opera extends from d' to Bb' which is one note higher than Faustina's. The air, "L' amor che per te sento,,,12 5 for Cuzzoni, has parts where there is no accompanying bass.

The duet, "Son d' Amore nella face calma,"126 is sung by both Faustina and Cuzzoni with equal ranges from g' to 1 2 7 g''. The last air of the opera, "All' amista fedel,"

Alessandro first sings with Cuzzoni, then with Faustina in a duet, and with both afterwards as a trio. This is Handel's only opera that ends in such a manner. The others usually end with an ensemble which includes all the singers.

1 2 2Burney, A General Fistory of Music, II, p. 740.

1 23 HCE, Vol. 72, p. 78. 124Ibid., p. 102.

,7Vol. 72, p. 110. 1 2 6 Ibid., p. 52.

127bid.p. 129. 5"4

Admeto was first produced at Covent Garden Theater on

Tuesday, January 31, 1727. The writer of the libretto is unknown.

Alceste and Antigona represent the two soprano roles

in the opera from a total of seven roles. There are twenty- nine arias, fourteen of which are sung by the sopranos:

Alceste (seven) and Antigona (seven). Antigona sings the only recitative for soprano from a total of four. She also

sings the one duet, "Dolce ristoro,ttl28 with Admeto, a con- tralto. The two ariosos are sung by another role.

The role of Aleeste, which has a range from eb' to g#'', was written for Faustina, and the role of Antigona, which has a range from d' to a'', was written for Cuzzoni. The air, "E per monti e per piano e per selve," 1 2 9 for Antigona had few divisions, but frequent opportunities for the display of her fine trills, for which Cuzzoni became renowned. Another air for Antigona, "E che ci posso far, se non ti posso amar,"13 0 has a passage in which the bass runs through the whole movement in a masterly manner without impoverishing the voice part. The duet,which is sung by Antigona and a contralto, Admeto, is written on a theme which begins with violins in unison and is afterwards repeated by the bass and other instruments alternately, while the voice parts

8 12 FCEI, Vol. 73, p. 111. 1 2 91bid., p. 57.

1301bid., p. 106. 5~5

have traits of beautiful melody totally different from the subject of the accompaniment.

The aria, "Gelosia, spietate Aletto,ta31 makes use of long and rapid. divisions for great execution yet the air,

"Quanto godra,tt132 gave little opportunity for the display of Faustina's neat and articulate execution as the divisions were given more to the instruments than to the voice. The air, "La dove gli occhi io giro,",1 3 3 is another aria which displays Faustina's fine execution which by present stand- ards would be considered mediocre, but in the year 1727 it was imaginedto be supernatural.

The opera Riccardo or Richard Coeur de Lion (Richard the Lion-hearted), was completed May 16, 1727, and was first performed in the Haymarket Theater on the eleventh of

November of the same year. The words were written by Paolo

Rolli. The drama was dedicated in an Italian sonnet by the poet to the new king, George II.13

From a total of six roles, there are two soprano roles: Costanza and Pulcheria. There are a total of twenty-seven arias, fourteen of which are sung by the soprano role: Costanza, eight, and Pulcheria, six. Three

131HCE,Vol. 73, p. 57. 1 3 2 1bid., p. 49.

1 33 1bid., p. 102.

134purney,A General history of Music, II, p. 751. 56

of the five recitatives are performed by a soprano voice:

Costanza, two, and Pulcheria, one. Costanza sings both of

the soprano ariosos from a total of four. The only duet,

"T' amo, si e piu m' appage,l3 5 is sung by Costanza and Riccardo, a contralto.

The role of Costanza, whose range extends from e' to

a'', was sung by Cuzzoni, and Faustina was selected to

assume the role of Pucheria, her sister, whose range was

from d' to a''.

Faustina's first aria, "Vado per obedirti,tt13 6

exhibited fine execution of her brilliant voice. The note

e' was a remarkably powerful note in her voice and we find most of her principal songs in sharp keys where that note

frequently occurred.1 3 7 Faustina's second air in this act,

"Belle teco,"t138 has the time only of andante, but afforded

opportunities to manifest fine trills.1 3 9 Per last aria in

the opera, "Quando non veda la cara madre, 140 contains many trills end difficult divisions which display the com-

poser's genius as well as the performer's fine execution.

13 5'HCE, Vol. 74, p. 72. 13 6 Ibid., p. 13.

137Burney, p. cit.,-p. 751 (footnote o).

138 HCE, Vol. 74, p. 22.

1 3 9 Burney, _2. cit., p. 752.

140HCE, Vol. 74, p. 125. 5.7

Cuzzoni sang an aria, "Caro vieni a me fido viene,114 l

in which she captivated her audience by her fine execution.

This song could be presented in modern times by a good

singer and good orchestra.142 The aria, "Il volo cosi fido

al dolce amato nido,,1+3 also for Cuzzoni, is accompanied

by a German flute, which is unusual orchestration for

Handel. Although the accompaniment of the aria, "Bacia per

me la mano,11+4+ has a bass, violins and tenor constantly

employed throughout; the melody of the voice part is never

disturbed but is uniformly clear from the beginning to the

end.145

Siroe, the composition of which was completed on the

fifth of February, 1728, was first performed at the May-

market Theater on the seventeenth of the same month. The

libretto is by with occasional alterations

made by Nicola.Faym for the London stage.

According to the personnel in G. F. Handel's Werke

(HCE) there are three sopranos: , Emira and Laodice,

but from the observance of the score the role of Siroe is a

contralto role and, according to Burney,14 6 it was sung by

141Ibid., p. 49.

142Burney, A General History of Music, II, p. 752.

143HCE, Vol. 74, p. 110. 144Ibid., p. 98.

145Blurney, op i.,L. p. 753. 1461bid. 58

Senesino, a contralto. Thus there are two soprano roles,

Emira and Laodice, from a total of seven roles. There is a total of twenty-four arias, exactly half of which are sung by the sopranos: Emira, six, and Laodice, six. The one arioso and recitative in the opera is sung by the con- tralto role.

The role of Emira was sung by Faustina whose range in this opera was from d#' to a''. The air, "Vedeste mai,"Il 7 is one that requires brilliant execution by the singer which was properly exhibited by Faustina.l4 8 "Non vi piacque,"11 9 is another aria that conveyed an idea of her virtuosity.

The role of Laodice was performed by Cuzzoni whose range extended from eb' to a'' in this opera. The air, "Se il caro figlio,"' 5 0 for Cuzzoni, is a graceful air and was among the favorite songs of that singer; but the aria,

"Torrente cresciuto, 1 5 1 for the same singer, is "perhaps the most elegant, fanciful and pleasing of all Handel's dramatic songs of the bravura kind."1 5 2 The aria, "L' aura

11+7HCE, Vol. 75, p. 30.

4 8 1 Burney, A General History of Music, II, p. 754.

l4 9HCE, Vol. 75, p. 67. 15 0Ibid., p. 72.

15Ibid-, p. 93. 152Burney,_ p_. cit_., p. 755. 59

non sempre,"'15 3 is a light and gay aria but unmarked by any distinct expression.

The composition of Tolomeo was completed April 19,

1728, and the thirtieth of the same month was the first performance. It was the last of the series of operas written for the Royal Academy of Music which had been

founded in 1720. The words were composed by Nicola Haym.

From a total of five roles, there are two soprano

roles: Seleuce and Elisa. Thirteen of the twenty-three

arias are given to the soprano voice: Seleuce (seven) and

Elisa (six). From a total of three ariosos, Elisa sings

the only soprano arioso, "Voi dolci aurette alcor

mostrate. "l1 Seleuce sings a part in both the two duets

in the opera. She sings the duets, "Se il cor ti perde"155

and "Tutto contento or godo quest,t15 6 both with Tolomeo, a

contralto. The three recitatives in the opera are per-

formed by another role.

The role of Seleuce was sung by Cuzzoni and has a

1 5 7 range from e' to a'l. Her aria, "Fonti arniche," is an

elaborate composition in seven parts for which the composer

and performer should receive equal credit. The aria, "Dite che fa?" 1 5 8 also for Cuzzoni, was called the echo song, as

1 5 3 HCE, Vol. 75, p. 65. 15+Ibid., p. 31.

155%bid., p. 54. 1 5 61bid., p. 81.

157Ib.d.., p. 24. 158Ibid. , p. 46. 60

several of the passages were repeated by Tolomeo behind the scenes. The aria, "To vo di duolo in duolo," 15 9 found in the appendix of G. F. Handel's Werke (HCE) was sung at a later date in Giulio Cesare and was afterwards inserted

in this opera.

The role of Elisa was sung by Faustina and has a range

from d' to g#''. Her aria, "Quanto e felice," 1 6 0 though not

rapid, was written to display her peculiar talent of precise

execution. Also her aria, "Ti pentirai, l 6l is known to

have exhibited this fine talent.1 6 2

The opera, Lotario, was finished November 16, 1729, and

brought out in London as early as the following second of

December. The words are founded on an older Venetian

libretto by Matteo Noris.163

This opera includes only one soprano role, Adelaide,

out of six roles. It has twenty-five arias with only five

sung by the soprano; four recitatives with two by the

soprano; one dv'et which is sung by Adelaide and Lotario, a

contralto; and two ariosos, neither of which was given to

the soprano role. The range of the soprano part is from c' to Bb''

l5 9 Ibid., p. 90. 16 0 lbid., p. 34. l6lIbid., p 6 8 .

16 2Burney, A General History of Music, II, p. 758.

1 6 3 According to Burney (p. 760), the text is from Yatteo Noris', Berengario, but, according to Lowenberg, the text was altered from Antonio Salvio's Adelaide. 61

The role of Adelaide was sung by Anna Strada del Po'.

She was a new prime donna and had many prejudices to combat on her arrival in England. Cuzzoni and Faustina were in high public favor as singers but were jealous of any new arrival. Even though Strada's personal appearance was unattractive, she gradually sang herself into favor, particularly with the friends of Handel.

The aria, "Quel cor che me donasti,,l164 the first that

Strada ever sang on the English stage, seems chiefly calcu-

lated to display her talents. In the aria, "Scherza in mar

la navicella,,,16 5 Handel has given her many of his favorite

divisions. The orchestra gives a full accompaniment in the

ariawhichseems to lose some of its original spirit by being

transposed from a#, in which it was composed, to G.166

Strada's aria, "Von sempre invendicata io resitro cosi,tt1 67

portrays infinite spirit and affords great opportunity for

action as well as singing. There are fewer arias on

masterly subjects than some of the preceding operas; there-

fore this opera was not well favored throughout the nation.168

Partenope, completed on the twelfth of February, 1730,

was produced on the twenty-fourth of the same month at the

16 +HCE, Vol. 77, p. 30. 1 6 5 Ibid., p. 1+6.

166Burney, A General History of Music, II, p. 762, footnote b.

167 HCE, Vol. 77, p. 90. 16 8 Burney, op. it., p. 764. 62

Haymarket Theater. The libretto was written by Silvio

Stampiglia and was first published at Naples in 1699.

The later performance of this opera in 1737 by new

companies occasioned many alterations. The most important

alteration changed the role of Arminda from contralto to soprano.

Considering the original version first, the role of

Partenope was the only soprano role from a total of six roles. From a total of twenty-nine arias, she sings seven; from three ariosos, she sings one, "Cara mura"; 1 69 the only trio and only quartet includes one soprano part; the two recitatives are by another role. Partenope sings a duet with Arsace, a contralto. This duet, "Ed io per to,"1 7 0 is a recitative sung alternately between the two parts and has a bass accompaniment. Partenope's range in the opera extends from e' through a'' and was performed by Strada.

Partenope's first aria, in the opera, "L' amor ed il destin," 17 1 contains passages of execution of a kind that required a flexibility and agility of the voice superior to any difficulties which this singer encountered in Lotario.

The aria, "Voglio amare," 1 7 2 has a bass which moves in quiet, iterated notes, while the other instruments carry on a sub- ject different from the principal melody by the voice.

169HCE, Vol. 78, p. 63. 17 0 Ibid., p. 30.

1 7 1 HCE, Vol. 78, p. 10. 1 7 21bid., p. 65. 63

Arminda in the 1737 production sings two arias and a part in the quartet. From a total of the twenty-nine arias, nine instead of seven were sung by the soprano voice. From observance of Arminda's two arias, her range in this version extends from e' to a''.

The opera Poro was finished on January 16, 1731, and was produced at the Haymarket Theater on the following second of February.

On the reproduction of the opera in 1736, four airs were inserted, only one of which was a soprano aria, "Come il candore d' intalle neve." 7 3

The opera includes only one soprano role, , from a total of six roles. There are twenty-six arias with only five given to the soprano voice; two ariosos, one of which is sung by the soprano; three duets, all of which include a soprano part.

The role of Cleofide was performed by Strada. Her range in this opera extended from eb' to a''. One of her airs,

"Se il ciel mi divide,"17 4 had a solo violin accompaniment by Pietro Castrucci, the first violinist of the opera house at that time. The air, "Se troppo crede,",7 5' also for

Strada, is an andante in a minor key, with a second part in a major key which is much more pleasing than the first.

1 7 3 HCE, Vol. 79, p. 115. 171+Ibid.

1 7 5 Ibid., p. 71. 64

The duet, "Se mai turbo,1l 76 which Cleofide sings with Poro, expresses their love for each other. Cleofide's only arioso, "Spirito amato,"tl77 is written on a short ground- bass of one bar only, while the melody is free in style.

The last air of the opera, "Caro vieni,tl7 8 was first sung in dialogue by Poro and Cleofide, afterwards in a duet, and finally in chorus. The duet is sixteen measures in length, is in 3/8 time and has a range for Cleofide of a#' to g''.

The air had such a pleasing melody that it soon became a national favorite.1 7 9

The opera, Exo., was first produced at the Haymarket

Theater on January l5, 1732. The words were written by

Pietro Metastasio.

This opera includes only one soprano role, Fulvia, from a total of six roles. Fulvia sings five arias out of twenty-nine, and two recitatives from a total of four. Her range in the opera extends from eb' to a''.

Fulvia's aria, "Finche un zeffiro,tf180 performed by

Strada, has a full accompaniment and is a dramatic aria.

Her air, "Quel fingere affetto,"18 1 has an accompaniment

7 6 1 HCE, Vol. 79, p. 34. 1 7 71bid., p. 94.

17 8 Ibid., p. 96.

1 7 9 Burney, A General History of Music, II, p. 770.

180HCE, Vol. 80, p. 38. I8lIbid., p. 56. 65

which makes much use of triplets. Fulvia sings two accom- panied recitatives, "Che fo? dove mi volgo, 182 and "Nisera, dove son.11 8 3 In the first recitative, the words express the feelings of the composer. Fulvia's last aria,

"Sulle sponde di cocito,"184 is a very short and easy aria with a range from g' to g''. This opera, with all its musical merit, was presented ohly five times.l 8 5

On February 4, 1732, Handel completed the composition of the opera which was immediately produced at the

Haymarket Theater on the nineteenth of the same month. The libretto was written by Matteo Noris who was also the librettist for Handel's Lotario (1729). This same libretto had been produced under the name of Alfonso Primo on the stage of San Sabratore in 1694 and set to music by Orazio

Pollaroli.186

This opera is Handel's fifth in succession to have only one soprano role. The opera includes twenty-one arias, five of which are sung by Elmira, the soprano; two duets, each including a soprano part; two recitatives by another part; and one arioso which is sung by Elmira.

18 2HCE, Vol. 80, p. 52. 18 3Ibid., p. 56.

18 4Ibid, p. 114.

185Burney, A General History of Music, II, p. 772.

18 6 HCE, Vol. 80, p. 1. 66

The only soprano role (Elmira) of the opera was sung by Strada, her fifth successive role in Handel's operas.

Her aria, "Dide pace,"Il8 7 contains difficult divisions in which her powers of voice and execution were displayed.

Also, the only arioso, "Padre, germano, e sposo,1 ex- hibited her fine execution. Both of the duets of the opera are sung by Elmira and Sosarme, a contralto. Their last duet, "Tu caro sei il dolce mio tesorot1 8 9 became a general favorite.190

Though Sosarme contains fewer great airs than several of Handel's earlier operas, it does rank among his most pleasing theatrical productions.191

January 23, 1733, Handel produced a new opera called

Orlando. Burney says that it was originally written by

G. Braccioli in 1713 for Venice and set to music by Alberto

Ristori. It was afterwards set by many different masters, particularly by Orazio Pollaroli in 1725, and in 1727 by

Vivaldi for Venice; but the music to which it was performed in London was composed entirely by Handel and finished, according to his own memorandum, on rNovember 20, 1732.192

18 7HCE, Vol. 81, p. 38. 1 8 8 Ibid., p. 42.

189Ibid.,p. 102.

1 90 Burney, A General History of Music, II, p. 775.

1 9 1 1bid. 19 21bid., p. 777. 67

From a total of five roles, Orlando contains two soprano roles: Angelica and Dorinda. There are nineteen arias, eight of which are sung by the sopranos, four by each; nine recitatives, one of which is sung by Dorinda; six ariosos, three by the sopranos, Dorinda two and

Angelica one; one terzetto, containing two soprano parts; and one duet containing one part for Angelica.

Dorinda's first aria, "Quanto diletto,"19 3 sung by

Celeste, is the only soprano recitative in the opera. It is accompanied by two violins, a viola and a bass. Her aria, "Fo un certo rossore,1l94 is an aria da capo in three-part harmony (tutti unison, bass and voice).

Angelica's arias, "Se fedel vuoi ch' io ti creda"19 5 and "Ritornava al suo bel viso,1W19 6 are accompanied by two violins, a viola and a bass. In the latter aria, a solo violin makes dp the missing fifth voice in the harmony when the voice part is omitted in sections. The one duet in the opera, "Finche prendi,"1 9 7 is sung by Angelica, performed by Strada and Orlando, a contralto. This duet is chiefly

in dialogue upon a constantly moving bass and is considered

by Burney to be a very masterly composition.198

193Hc, Vol. 82, p. 17. 191+Ibid., p. 20.

195Ibid., p. 32 1 9 6 Ibid., p. 22.

197Ibid., p. 93.

l98TBurney, A General History of Music, II, p. 779. 68

The composition of Arianna was completed in October,

1733, and performed January 26, 1734. The libretto was by Francis Coleman.

From a total of seven roles, two are sung by the soprano role: Arianna and Alceste. There is a total of twenty-five arias, nine of which are sung by the sopranos:

Arianna, five, and Alceste, four; two duets, both containing a part for Arianna and Teseo, a contralto; and one arioso and two recitatives sung by another role.

The role of Arianna, ranging from eb' to Bb"', was performed by Strada. According to Burney,1 9 9 her aria, "Se nel bosco,"2 0 0 "has been printed with only a single violin accompaniment but in the original manuscript there are parts for a second violin and tenor which are very important to the harmony and effects."

The role of Alceste, ranging from d' to a'', was sung by Carlo Scalzi. In this opera Scalzi was considered a singer of the second class but, according to Burney,2 0 1 afterwards he became a first-class singer. Scalzi's aria,

"Son qual stanco pelligrino," 2 0 2 has a fine solo part for

19 93urney, A General Eistory of IT, Pusic,p. 785 (footnote o).

20 0 HCE, Vol. 83, p. 82.

20 1 Burney, or. L ., p. 784 (footnote k).

202 H1CE, Vol. 83, p. 73. 69

the violoncello which was intended to display the abilities of Caporale, the new violoncellist in the opera orchestra.2 0 3

Handel evidently exerted his powers of invention and abilities in varying the accompaniments throughout this opera with more vigor than in any former drama since the dissolution of the Royal Academy of 1Music in 1728.

The opera Ariodante was first performed January 8, 1735. The libretto was originally written by and set by Carlo Pollaroli for Venice.

From a total of seven roles there are three soprano roles: Genevra, performed by Strada; Lurcanio, by John

Beard, an English castrato; and Dalinda, by

Arne, wife of , the composer. Burney seems to think that the role of Dalinda was intended for another singer since it was written for a contralto voice in

H'ncel's original score and Arne was a high soprano.204 Nor, according to Burney,205 was the role of Lurcania originally composed for Beard.

There are a total of twenty-five arias, twelve of which are sung by the soprano roles: Genevra, six; Lurcania, three, and Dalinda, three. From the five ariosos, two are sung by the soprano, Genevra. The opera includes four

2 0 3 Burney, A General Pistory of Music, II, p. 784.

204.Ibid., p. 793. 205Ibid., p. 794. 70

duets, three of which are sung by Genevra and Ariodante, a contralto, anCl the dret, "Spera, spera o gia mi pento,,t20 6 is sung by Dalinda and Lurcanio, both sopranos. Genevra sings "A me impudica,,2 0 7 which is the only recitative in the opera.

With a range extending from d' to a'', Beard, in the character of Lurcanio, sings the aria, "Tu vive,t1208 which was well written "for a singer and actor of spirit." 2 0 9 The first bar in the aria is frequently introduced in the accompaniments as a subject of fugue and imitation.

Another aria that requires energy and fire by the singer is

Lurcanio's aria, "Il tuo sangue." 2 1 0 It is extremely long, containing one hundred and thirty-six measures.

The role of Dalinda has a range from e' to Bb''. The range in her only duet, "Spera, spera io gia mi pento, 211 which was performed chiefly in dialogue with Lurcanio, extends from e' to a'', while Lurcanio's range lies only from e' to f#''. G. F. Handel's Werke (lCE) gives the original arias for

Dalinda in the alto clef and the altered version arias for Arne in the treble clef.

2O6HCE, Vol. 85, p. 120. 20 71bid., p. 92.

20 8 Ibid., p. 67.

2 0 9 Burney, A General Pistory of Music, II, p. 294-.

21 0 HCE, Vol. 85, p. 87. 21 1 1bid., p. 120. 71

Genevra, the heroine of the opera, sings the aria,

"Il mio crudel martoro,"2 1 2 by which she is lulled to sleep; during her sleep there is a dance, the music of which is sketched. out in Handel's original score, after which the second act ends. Her aria, "Si morro,"2 1 3 begins with a slow tempo but changes to a quick tempo in the second movement. It has a solo part for four violins and for the violoncello. In Act IIIwhere the heroine is in prison, an arioso, "Manca, oh Dei!"i214 begins but is interrupted at the fourth bar by a symphony of horns, oboes, violins and bass. The short arioso is accompanied by two violins, one viola and one bass.

The composition of the opera, Alcina, was finished on

April 8, 1735, and first produced at Covent Garden Theater on the sixteenth of the same month. The libretto was originally written by Antonio Mrchi and set to music by

Tommaso Albinoni in 1725 in Venice.215

From a total of seven roles four are performed by the soprano roles: Alcina, seven; Ruggiero, six; Morgago, three, and Oberto, two arias. The role of Ruggiero sings both the ariosos and Alcina sings the only recitative in the opera. The trio is sung by Ruggiero, Alcina and Brda- mante, an alto.

2 1 2HCE, Vol. 85, p. 93. 2 1 3Ibid., p. 11.

214Ibid., p. 125. 215Burney, OP. cit., p. 796. 72

The role of Alcina, with a range from d' to Bb'', was portrayed by Strada. Strada's second air, "Si; son

quella,t1216 has a continuo accompaniment but the full orchestra was inserted for nine measures beginning with measure forty-four, then the continue alone was resumed to the end of the aria. The only recitative, "Ah! Ruggiero crudel," 2 1 7 also sung by Alcina, has an accompaniment of strings and continue through the seventeenth measure. From the seventeenth through the twentieth measure no accompani- ment was used, not even the bass. After the twentieth measure the original accompaniment was resumed.

Giovanni Carestini, a castrato, portrayed the role of

Ruggiero, whose range extended from b to a''. In his first aria, "Di te mi rido, semplice stolto,t,21 8 Handel makes much use of triplets and uses the piano in the accompani- ment. In the arioso, "La bocca vaga,"2 1 9 also for Ruggiero,

Handel uses an original accompaniment of one violin, piano and the bass. The aria, "Verdi prati,"2 2 0 is one of

Handel's best known arias today and is found in several

6 21 HCE, Vol. 86, p. 43. 2 17Ibid., p. 98.

8 21 Ibid., p. 22. 2 19 Ibid., p. 46.

2 2 01bid., p. 94. Carestini considered "Verdi prati" not good enough for him. He sent it back to Handel but after a typical Handelian rejoinder the singer withdrew his objection to the air. (Burney, A General Fistory 2f Music, II, p. 797, footnote *). 73

famous collections of songs. 2 2 1 The ranges of the two ne sopranos, Alcina and Ruggiero, in the trio, "Non e amor,

gelosia," 2 2 2 differ as Alcina's range extends much higher than Ruggiero, Her range is from f' to Bb'', while

Ruggiero's is only from d' to eb''.

The role of Morgano was sung by Cecilia Young Arne,

whose range in her three arias extended from e' to b''. 2 2 3 Oberto's role was performed by . His

range in his two arias extends from e' to aII. The composition of the opera, , was concluded

on April 22, 1736. It was produced on the twelfth of May

of the year 1736 in honor of the marriage of the Prince of

Wales (Frederic Louis, father of George III and son of

George II) with the Princess Augusta of Saxe-Gotha, and

some of the scenes near the end of the opera pay homage to

the Royal pair.224

From a total of six roles there are two soprano roles: of Atalanta and Meleagro. There are seventeen arias, nine

which are sung by the sopranos: Atalanta, four, and are Meleagro, five. From the two ariosos in the opera, two

2 2 1Knud Jeppesen, editor, La Flora I, p. 134.

2 2 2 HCE, Vol. 86, p. 140.

2 2 3 Referred to as "the boy" in Handel's original score (G. F. Handel's Werke (HCE), p. 1). 224ICE, Vol. 87, introduction. sung by Atalanta and the other, "Care selvet22 5 by

Meleagro. The two duets are both performed by Atalanta and Meleagro.

The role of Meleagro was performed by Conti, usually called Gizziello.226 His range in the duet, "Oh Dei, che vuoi Taci,"2 2 7 with Atalanta, was e' to a'. The other duet, "Caro, nel tuo bel labbra,t?228 which he also sings with Atalanta, has a range for Meleagro from e' to Bb'' which is six semitones higher than his range in the first duet. Atalanta's range inthis duet extends from g' to Bb'' which is no higher than Meleagro's range. The arioso, "Custodite, o dolce sogni, del mio ben,"2 2 9 was written for

Strada portraying the role of Atalanta. This aria had no other accompaniment than a violoncello.

The opera Arminio was completed on October 3, 1736, and first performed at Covent Garden on January 12, 1737. The libretto was written by Antonio Salvi.

From a total of seven there are two soprano roles:

Tusnelda and Sigismondo. There are twenty-four arias, ten

22 5HCE, Vol. 87, p. 8.

6 22 Conti was the first important castrato high soprano for whom Handel composed. (Weinstock, Handel, p. 202, and Burney, A General History of Music, II,Yp l1).

2 2 7 HCE, Vol. 87, p. 37. 228Ibid., p. 75.

2 2 9 1bid., p. 68. 75

of which are sung by the sopranos: Tusnelda,. five, and

Sigismondo, five. The two ariosos are both sung by

Tusnelda. Tusnelda also sings a part in all three duets in the opera. The only recitative is sung by another role.

The role of Tusnelda, whose range extends from eb' to

Bb'', was sung by Strada. She sings two of her duets with

Arminio, a contralto, and her third duet, "Quando piu minaccia il Cielo," 2 3 0 with Ramise, an alto. Her range in this duet is higher than in the other two; her highest note is Bb''. Her last aria, "Va, combatti ancor da forte," 2 31 had, according to Burney, "original passages and peculiar difficulties of execution." 2 3 2

Conti sings the role of Sigismondo whose range extends from d' to c''', which is the highest range for a soprano role since Handel's first opera Almira. The aria, "Quella fiamma, 2 3 3 is Conti's only aria which contains the high c.

This aria was accompanied on the oboe by Padre Giambattista

Martini.234

The opera, Ginstino, was composed in the period from

August 29 to October 20, 1736, and first produced on

2 30 HCE, Vol. 89, p. 77. 2 3 1Ibid., p. 89.

232 Burney, A General Fistory of Music, II, p. 806.

2 3 3 HCE, Vol. 89, p. 52.

234urney, on. cit.., p. 805. 76

February 16, 1737, at Covent Garden Theater. The libretto was written in Venice in 1683 by Nicolo Beregani.235

Front a total of nine roles there are two sopranos:

Anastasio and Arianna. There are twenty-four arias, nine of which are sung by the soprano roles: Anastasio, four, and Arianna, five. Anastasio sings the only soprano arioso,

"Verdi lauri, cingetimi il crine,t23 6 from a total of four.

The only duet, "Mia dolce spene," 2 3 7 is sung by Anastasio and Arianna.

The role of Anastasio, which has a range from c' to a'', was sung by Conti. Strada performed the role of

Arianna, whose range extends from d' to a''. In their auet,

"Mia dolce spene," Arianna sings the highest note, which is

Bb''. Anastasio's highest note in the duet is a''. This duet would have been more pleasing if Handel had not re- peated the first bar so often. Arianna's aria, "Quel torrente,,,238 appears to have been written for the display of trada's powers of execution. The aria includes many difficult divisions.

From a total of seven roles, two are sung by the sopranos: Berenice and Alessandro. There are twenty-four arias, nine of which are by the soprano roles: Berenice, six, and Alessandro, three. Alessandro sings the only

35 2 HCE, Vol. 88, introduction. 2361bid., p. 73.

23 7 Ibid., p. 66 238 Ibid., p. 80. 77

soprano arioso, "Mjio bel sol, dove t' aggire?tf2 39 from a total of three. All three of the duets include a soprano

role. Berenice sings the duet, "Se il mio amor fu il

tuo,w,240 with Dimetrio, an alto, and the duet, "Quella fede,

quel volto,241 with Alessandro, the other soprano.

Alessandro sings the other duet, "Le dirai,'242 with Arsage,

an alto. The only recitative in the opera is sung by

another role.

The role of Berenice, whose range extends from d' to

Bbff ,was sung by Strada. Her aria, "Chi t' intende,It243 has a solo part for the oboe. This air is of two charac-

ters: it begins slow, then changes to an allegro. Her

range in her duet with Alessandro extends from g#' to a'', while Alessandro's is only from e' to f#''.

Conti portrayed the role of Alessandro, whose range

extends from c#' to a''. His outstanding aria, "Che

sara,"241+ has an unusual leap of a ninth in the voice part

to the words, "Se mentre disprezza." His duet with Arsage

is the shortest duet of the three, his part consisting of

twelve measures.

2394CE ,Vol. 90, p. 49. 24OIbid., p. 32.

4 2 1Ibid., p. 92. 24 2Ibid., p. 84.

243Ibid., p. 75. 244Ibid., p. 10. 78

On January 7, 1738, Heidegger's opera house in the Haymarket was opened with Faramondo. The words are by

Apostolo Zeno, but considerably altered.245

From a total of seven roles there are four soprano roles: Faramondo, mezzo-soprano, Clotilde, Rosimonda, mezzo-soprano, and Adolfo. This is Handel's first opera in which he uses two mezzo-sopranos, one of which is a castrato. There are twenty-two arias, fifteen of which are sung by the sopranos: Faramondo, four; Clotilde, four;

Rosimonda, four, and Adolfo, three arias. Faramondo sings the only arietta, "Si, tornero a morir, a non placarti.tI246

Both the duets are sung by sopranos only. Faramondo and

Rosimonda sing the duet, "Vado e vivo con la speranza,u247 and Clotilde and Adolfo sing the other duet, "Cara, tu mi accendi nel mio core dolce fiamma.t1248 Faramondo sings the aria, "Virtue che rende,n2+9 which precedes the final chorus of the opera. The only recitative is sung by another role.

The role of Faramondo, mezzo-soprano, whose range extends from b to g'', was sung by Geetano Majorano, a castrato, called . He had gained considerable reputation in several theaters of Italy before his arrival

245HCE, Vol. 91, p. 1. 24 6 Ibid., p. 33.

2471bid., p. 80. 2481bid., p. 86.

24 91bid., p. 118. 79

in England. His first public appearance was in a female role in the opera Valdemaro in Rome in 1726.2 O In

Faramondo he portrays the hero of the drama and in the course of the aria, "Rival ti sono,ti2 5 1 it is marked "ad libitum" several times, a compliment which Handel never paid to an ordinary singer. In his duet with Rosimonda his range is exactly the same as hers, d' to g''. His air,

"Voglio che sia,1125 2 contains contrasted passages that

calls for a voice of great volume, a requirement evidently

fulfilled by Caffarelli.

The role of Rosimonda, the other mezzo-soprano, whose

range extends from b to f'', was sung by Maria Antonia

Marchesini, called Lucchesini. The air, "Si 1' intendesti,n25

sung by Rosimonda, the principal female role, was her best

known aria in this opera. According to gurney, her aria,

"Sappi crudel,1254

though for the first woman A1.e. principal female rolj7 might have been sung by the last, without suffering for want of voice or execution. The com- position is clear and masterly but there is no passion in the melody, or interesting effect in the harmony or modulation.2 5

2 5 0Burney, A General History of Music, II, p. 818.

25 1HCE, Vol. 91, p. 23. 25 2Ibid., p. 90.

2 5 3 Ibid., p. 51. 25+Ibid., p. 106.

255Burney, o)_. ct., p. 820. 80

The role of Clotilde, whose range extends from eb' to

Bb', the highest range in the entire opera, was portrayed by Elizabeth du Parc, referred to as Francesina. In her aria, "Un' aura placida,2 5 6 Francesina displayed her lark-like execution.2 5 7 Her range in the duet with Adolfo extends much higher (five semitones) than his, which lies from d' to e''. Her aria, "Combattuta da due venti,t,25 8 is an extremely long aria of two hundred and four measures.

The last soprano role, Adolfo, whose range extends from c#' to gt ', was sung by Margarita Chimenti. This role

contained no outstanding arias.

The opera Serse was first performed April 15, 1738.

The first performance in America was May 13, 1928, given by the music department of Smith College, Northampton, Massa-

chusetts. Bayard Quincy Morgan had made a clear English

translation of the text, Werner Josten directed and the part of Serse was entrusted to the tenor, Charles Kullman,

and that of Romilda to Mabel Garrison.25 9 Serse is

Handel's only opera with a comic plot.

From a total of seven roles four are sung by soprano

voices: Serse, Arsamane, Romilda and Atalanta. There is

a total of twenty-four arias, nineteen of which are sung

25 6 HCE, Vol. 91, p. 109. 25 7Burney, p.cit. p. 820. 258HCE, Vol. 91, p. 62.

2 5 9 Pitts Sanborn and Emil Hilb, The Metrorolitan Book of Opera, p. 103. 81

by the sopranos: Serse, six; Romilda, four; Arsamane, five, and Atalanta, four. From the six ariosos sung, five are sung by the sopranos: Serse, two; Romilda, one,

Arsamane, one, and Atalanta, one. There are seven ariettas, five of which are sung by the sopranos: Serse, one;

Romilda, three, and Atalanta, one. Botb of the recita- tives are sung by sopranos. Serse sings the recitative,

"Fondi tenere,"26 0 and Romilda sings the other, "-' amero? non fia vero.112 61 The three duets each have a soprano role, two of which have two sopranos.

The role of Serse, whose range extends from b to a," was performed by Caffarelli. The most outstanding aria of the first act is "Piu che penso,i262 sung by Serse. The

passages in this aria are contrasted in tempo, and there is

frequent opportunity for the singer to display his voice in

the many divisions. Another outstanding aria of Serse's is

".t126 3 The melody of this air is more widely

known as Handel's "Largo." The term "largo," meaning broad

and holding usually an implication of slow and dignified

movement, would almost appear to name a characteristic of

much of handel's music. It has become the title of this

aria which is heard now in all sorts of arrangements for

instruments and voices.

260HCE, Vol. 92, p. 6. 26lIbid., p. 65.

26 21bid., p. 34. 26 3 Ibia., p. 7. 82

Francesina portrayed the role of Romilda, whose range extends from d' to Bb''. In the accompaniment of Romilda's arioso, "0 voi che penate,t2614 according to Burney,26 5

Handel has made use of the flutes playing an octave higher than the violins, an experiment which he tried many years before; but after being discontinued from the time of HEandel until about twenty years ago (1760) treble instruments playing 'alla octava' then became in fashion.

His aria, " gelosia,t12 6 6 has a spirited melody, but the passages are too frequently repeated. Romilda sings the last air of the opera, "Caro voi siete,t26 ? which is made the subject of the final chorus. In her duet, "Troppo oltraggi la mia fede, 268 her range extends from e' to a", which is higher than Arsamane's which ranges only from c#' to g#1'' in the duet.

The role of Atalanta has a range from e#' to a'', while

Arsamane's entire range extends from c' to g# 1 '. In

Arsamane's aria, "Si la voglio,t1269 Handel invented a technique for indicating sixteenth notes, placing only a dot upon a line or space for every four of the same kind.2 70

26 +HCE, Vol. 92, p. 10.

26 5 Burney, A General Pistory of Music, TI, p. 821.

266pCE, Vol. 92, p. 65. 26 71bid., p. 119.

268 Ibid., p. 106. 26 91bid., p. 76.

2 7 0:urney, o. I.., p. 822 (footnote x). 83

The librettist of this drama is unmown. Burney

says,271

the text is one of the worst that Handel ever set to music. There is a mixture of tragi-comedy and buffoonery in it, which Apostblo Zeno and Pietro Ketastasio had banished from the serious opera. How- ever, it gave Hand'eJ an opportunity of indulging his native love and genius for humor.

Imeneo was completed by Handel on October 10, 1740,

and was first produced on Povember 22, 1740. It was

scheduled again for the 29th, but deferred because of the

indisposition of Francesina. However, on December 13th it was performed for the second and last time.

This is Handel's only opera consisting of only two

acts and may be called an operetta. Handel's original

score is very incomplete. Not only is there no overture

but also in the recitatives the words are often written without the notes, the notes without the words, and even the instrumental parts are frequently incomplete.

From a total of five roles tw~o are sung by the

sopranos: Rosmene and Clomire. There are sixteen arias,

seven of which are sung by the sopranos: Rosmene, four,

and Clomire, three. Two ariosos are sung by Rosmene from a

total of five. She also sings the only recitative and a

2 7 1Burney, A General History of Music, II, p. 822 (footnote x). part in the onlyr duet. The only trio of the opera is sung by Rosmene, Tirinto, contralto, and , tenor.

Francesina portrayed the role of Rosmene whose range extended from d' to Bb''. Clomire's entire range is from e' to 3b'b'. The duet of the opera is sung by Rosmene and Tirinto, a contralto.

There are very few records concerning this operetta which is notable for little else than the important role playeO in it by the chorus.

Deidamia, Handel's last opera, was completed ovember

20, 1740, and was performed only three times, all in the following year: January 10, 17, and February 10. The text was written by P. Rolli.

From a total of six roles there are three sung by the sopranos: Deidamia, Nerea and Achille. There are twenty- six arias, sixteen of which are sung by the sopranos:

Deidamia, six; Nerea, six, and AchilLe, four. Three of the four ariosos are sung by the sopranos. Deidamia sings two and Achille sings the other, "Lasciami tu sei fedele?"2 7 2

The only duet, "Ama nell' armi,1 2 7 3 is performed by Deidamia and Ulisse, a contralto.

Francesina sang the role of Deidamia whose range extends the highest in this opera, which is from d' to b''.

272ICE, Vol. 94, p. 56. 273Ibid., P. 134# 85

Deidamia's first aria, "Due bell' alme,t,274 is remarkable for the instrumentation of its accompaniment which is for cello, lute and harpsichord. Not only is this notable for its omission of the violin but it provides the last use of the lute in the English opera orchestra.275

The role of Achille whose range extends from e' to

Bb'' was personated by Edwards. The role of Nerea has a range from d' to Bb''. Handel either found that his singer was unequal to a few of his airs or disliked them himself for he has set the same words to a different melody in three of his airs.27 6 Both versions of the airs are found

in G. F. Handel's Werke (HCE).

This opera may be numbered among the happiest of

Handel's dramatic productions.2 7 7

A statistical conclusion can be drawn emphasizing the

importance of the soprano role in Handel's operas; thirty-

eight per cent of the total number (252) of roles are designated for the soprano voice and twenty per cent of

the soprano roles (95) are castrati roles.

2714HCE, Vol. 941, p. 18.

2754einstock, Handel1 p. 230, and Burney, A General History of Music, II, p. 829.

27 6HCE, Vol. 94, pp. 20, 36 and 128.

2 7 7 Burney, op_. _i. , p. 830. 86

A comparison of the use of the soprano voice with the total number of voices shows that: fifty per cent of the arias are sung by the soprano voice; forty-four per cent of the ariosos; thlirty-six per cent of the ariettas; ninety- three per cent of the duets, and thirty-seven per cent of the recitatives.

It is interesting to note that, with the exception of one, the soprano duets are sung with a contralto; the exceptional role is the tenor role and is found in

Almira (1705).

All of Handel's operas, with the exception of two, have three acts; Teseo (1713) has five acts and Imeneo

(1740) only has two. The opera Serse (1732) is Handel's only opera with a comic plot. This opera also happens to be the only one containing soprano ariettas. It is hoped that the importance of the soprano role in Handel's operas may be better understood through the contents of this study. APPENDIX I

OPERAS IN CHRONOLOGICAL ORDER

Years Operas Volumel 1705 Almira 55 1707 Rodrigo 56 1709 Agrippina 57 1711 Rinaldo 58 1712 Il Pastor Fido 59 1713 Teseo 60 1715 Amadigi 62 1720 Radamisto 6 1721 Muzio Scevola 64 1721 Floridante 65 1723 Ottone 66 1723 Flavio 67 1724 Giulio Cesare 68 1724 Tamerlano 69 1725 Rodelinda 70 1726 Scipione 71 1726 Alessandro 72 1727 Admeto 73 1727 Riccardo 74 1728 Siroe 75 1728 Tolomeo 76 1729 Lotario 7 1730 Partenope 7, 1731 Poro 79 1732 Ezio 80 1732 Sosarme 81 1733 Orlando 82 1734 Arianna 83 1735 Ariodante 85 1735 Alcina 86 1736 Atalanta 87 1737 Arminio 89 1737 Guistino 88 1737 Berenice 90 1738 Faramondo 91 1738 Serse 92 1740 Imeneo 93 1741 Deidamia 94

1 handel, G. F. Werke, edited by , Handelgesellschaft ?referred to as liCE), Vols. 55-94.

87 APPENDIX II

OPERAS IN ALPHAB9ETICAT ORDER

Date Volume Admeto 1727 73 Agrippina 1709 57 Alcina 1736 86 Alessandro 1726 72 Almira 1705 55 Amadigi 1715 62 Arianna 1734 83 Ariodante 1735 85 Arminio 1737 89 Atalanta 1736 87 Berenice 1737 90 Deidamia 1741 94 Ezio 1732 80 Faramondo 1738 91 Flavio 1723 67 Floridante 1721 65 Giulio Cesare 1724 68 Gistino 1737 88 Il Pastor Fido 1712 59 Imeneo 1740 93 Lotario 1729 77 Muzio Scevola 1721 64 Orlando 1733 82 Ottone 1723 66 Partenope 1730 78 Poro 1731 79 Radamisto 1720 63 Riccardo 1727 74 Rinaldo 1711 58 Rodelinda 1725 70 Rodrigo 1707 56 Scipione 1726 71 Serse 1738 92 3iroe 1728 75 Sosarme 1732 81 Tamerlano 1724 69 Teseo 1713 60 Tolomeo 1728 76

88 APPENDIX III

SOPRANO ARIAS, DTTS AND RECITATIVES IN ALPHABETICAL

ORDER ACCORDING TO EACH OPERA WITH CORRESPONDING ROLE, RANGE, VOLUME AND PAGE NUMBER2

Admeto (1727), HCE Vol. 73 4 Arias Role 3 Range Da tanti affanni oppressa Antigona e'-a''I 66 E per monti e per piano e per selve Antigona dt-ab'' 57 E che ci posso far, se non ti posso amar Antigona 106 Faro cosi piu bella la bella fede mia Al ce ste d#' -e'I 22 Gelosia, spietate Aletto Alceste d '-.g'' 69 Io son qual Fenice risorte dal foco5 Antigone. e'-g'' 123 Io ti bacio, oh bella imago Antigona 101 La dove gli occhi io giro Alceste e'-b''I 102 La sorte mia vacilla Antigona f#'-a'' 84 Luci care addio, posate Alceste elb f .9 13

2 Also includes ariosos, ariettas, trios and when contained in the operas.

3Castrati roles are indicated by (c).

4illi Apel, "Pitch Names," Harvard Dictionary, system I.

5HCE Vol. 73, Appendix.

6 Also found in , editor, Songs and Airs _b G. F. Handel, Vol. I, p. 45.

89 90

Arias Role. Range Quanto g dra, allor che mi vedra1 Alceste eb'gt. 49 Sen vola io sparvier Antigona e -a'' 40 Si, carol, si, ti string al fin cosi Alceste I' -#' 115 Spera allor, che in mar turbato Antigona eb'-b'' 18 Spera, si, mio carol bene8 Alceste e'-g'' 121 Vedro fra poso, se l'dol mio cangio desio Alceste f -f'' 1 84 Duets

Dolce ristoro! ia t'abbraccio Antigona. g'-g'' 101 Admeto9

Recitative

Admeto, traditor, iniquo amante Ant igona f'-f'' 16

Agrippina (1709), HCE Vol. 57 Arias

Bel piacere e godere fido amor1 0 Poppea. 121 Bella pur nel mio diletto Poppea g'-g'' 82 Coll'ardor del tuo bel core Nerone(c) d '-g''fI I 1 111 Col peso del tuo amor Poppea- e'-a'' t 90 Con saggio tuo consiglio Nerone(c) df#-g'' 9 E un foco quel d'amore Poppea 40 Fa vuoi, 1i f'-a''I quanto f'#1-g''I scherni tuoi Poppea 45 Ho un non so che nel cor Agrippina 43

7Also found in William Thomas Best, editor, Fifty Arias by Handel. 81bid.

9Contralto role.

1 0Also found in Otto Dresel, editor, Handel Arien ftir 91

Arias Role Range Ingannata una sol voltall Poppea e'-f#f t 88 L'alma mia fra le tempeste Agrippina 20 Non ho cor che per armarti Agrippina 53 Ogni vento ch'al porto lo spingal 2 Ag rippina f'-bg' I 105 Pensieri, voi me tormentatel 3 Agrippina 94 Quando invite la donna ge '-g''- '' l'amante Nerone (c) f 92 Se guinge un dispetto Poppea d'-g'I d'-g'' I 5'7 Se vuoi pace, o volto amato Agrippina 133 Sotto il lauro che hai sul ee'-..g'' f t'' crine Nerone(c) f '-b' f 77 Tu ben degno sei dell'allor Agrippina 30 Tuo ben il trono, io non Poppea 76 Vagbe perle, eletti fiore Poppea 35 Arioso

Qual piacer a un cor pietoso Nerone(c) e'f'' f 22 Quartet

Il tuo figlio merta sol scettro e corone Agrippina g'-gag'-g'' I Nerone(c) Admetol+ Ercole' 5 25

lAlso found in Otto Dresel, editor, Handel Arien ffir Sopran.

12Ibid.

3 ' Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for High Voice.

Contralto role.

15Bass role. 92

Alcina (1735), HCE Vol. 86

Arias Range Pa e

Ah! mio cor!16 Alcina f'-ab'' 82 Ama, sospira Morgana e'-a'' 70 Barbara: io ben lo so Oberto(c) e .a'' I 136 Chi M'insegna il carol padre Oberto(c) 25 Credete al mio dolore Morgano f '-Bb'' 110 Di, cor mio, quanto t'amai Alcina f'-ab' 22 Di te mi rido, semplice stolto Ruggiero(c) dl-a''I 27 Di, son quella Alcina 43 La bocca vaga Ruggiero(c) bt-e''I 46 Ma quando tornerai Alcina ef ' '-a''I -a' ' 116 Mi lusinga il dolce affetto Ruggiero(c) 67 Mio bel tesoro Ruggiero(c) e ' eb' ' 75 Mi restano le lagrimel7 Alcina e'-a' 'I 129 0 s'apre al riso Morgana e'-b''I 7 Sta nell Ircana pietrosa tena Ruggiero(c) b-g'' 119 Tornami a vaheggiar Alcina f'-Bb'' 51 Verdi pratilO Ruggiero(c) C#'-e''I 94 Ariosos Col celarvi Ruggiero (c) d '.-9'' 55 Qual portento Ruggiero(c) 57 Recitative

AhL! Ruggiero crudel Alcina e'-a'' 97 Trio

Non e amor, ne gelosia Alcina f'-Bb' Rugg iero(c d'-eb' Broamante

16 Also found in William Thomas Best, editor, Fifty Arias by Handel.

17Ibid.

18 Also found in Knud Jeppesen, La Flora, I, p. 134.

1 9Alto role. 93

Alessandro (1726), HCE Vol. 72

Arias Role I Page Alla sua gabbia d'oro suol ritornar talor Rossane d'-f#' t 78 Brilla nell' alma un non inteso ancor Rossane e'-g#''I 102 Che tirannia d' Amor' fuggir Lisaura f ' a-abl I 74 Dica il falso, dica il vero Rossane et-ab'' 92 La cervetta nei lacci avvolta Lisaura 84 L'amor, che per te sento Lisaura f'I-Bb I' 110 L'armi implora dal tuo figlio Rossane d'-g'' 1 20 135 Lusinghe piu care Rossane d'-g''I 20 No, piu soffrir non voglio Lisaura d'-Bbt t d t-r'' 33 Quanto, dolce armor saria Lisaura 17 Si, m'e caro imitar quel bel fiore Lisaura. 100 Un lusinghiero dolce pensiero Rossane e' #'' 41 Duets

Amar m' e forza ognor Lisaura. g'-a'' 125 Alessandro21

Se ve bellezza in me, son bella Rossane Alessandro 126 Son d' Amore nella face calma Lisaura g '-g'' Rossane g 1.g''1 52 Arioso

Aure, fonti, ombra gradite Rossane I 62 -'

2 0 Also found in Frank LaForge, The Second Lily Pons Song Album, p. 36, under the title, "Caresses and Glances," and Ebenezer Prout, editor, Songs & Airs by G. F. Handel p. 36.

2 1Contralto role. 94

Recitatives Role Range

Che mirai? (for two voices) Rossane eb'-e'I Lisaura 15 Solitudini amate Rossane f'-f'' 60 Spegni, oh supreno Regnator di Numi (for two voices) Rossane g'-g' ' Lisaura g' -g'' 123 Vilipese bellezze Rossane f'-f' I 37 Trio All' amista fedel Lisaura f#'-a ''f Rossane d'-g t' Alessandro 2 2 129

Almira (1705), HCE Vol. 55 Arias

Blinder Schttz Bellante 86 Chi sa, mia speme Bell-ante d'-g'' 4+5 Chi piu mi piace io veglio Almira f#'-fb'' 11 Der Himmel wird strafen Edilia f '-C 'f'I 69 Der Mund spricht zwar gezwungen: Nein Bellant e g ' -Bb';' 1+0 Geloso tormento Almira e'-a''I 28 Ich brenne zwar, dock ohne dein Bewegen Bellante d'-ab''I 112 Kochet, ihr Adern, entzundete Rache Almira 96 Move i passi alle ruthe Almira d ' -g9 t'I 60 No, no, non voglio, no Almira dt-g''I 55 Piu non vuo tra si e no Edilia g'-Bb''I 31 Proverai di che fiere saette Edilia g'- c#''f 18 Quillt, ihr uberhguften Zahren Ed ilia g ' -Bb't'f 82 Sanera la piaga un di Almira 67 Schdnste Rosen und Narcissen Edilia 13 Vedrai, s' a tuo dispetto Almira d'f-b''I 91 Vod kommene Hunde Almira 26 Werthe Schrift, geliebte df ' -9 'f'I Zeilen Almira 100

2 2 Contralto role. 95

Duets Role Range Page Ich will gar von nichten wissen Edilia Osman23 37 Mein Betrtben, Masa verschwinden Bellant e f f ' ' Osman24 37 Spielet, ihr blitzenden Augen Almira2 5 f I -Bbt t Fernando25 109

Amadi (1715), HCE Vol. 62 Arias

Ah! spietato! e non ti muove Melissa e'-g' 17 Ch' io lasci mai d' amare il caro mio tesero Melissa 69 Destero dall' empia Dite ogni furia a farvo guerra Melissa f#'-f't t 71 Dolce vita del mio tto Oriana 76 Gioja venita in sen' Oriana eb'-ab' 28 Io godo, scherzo e rido crudel, nel tuo dolor Melissa 37 Oh care mio teser, deh! Oriana 34 Se tu brami di godere Melissa 63 S' estinto e It idol mio Oriana eb'-f' 'I 46 Ti pentirai, crudel Oriana eb'-g' I 52 Vanne lungi dal mio petto Melissa e'-g' '1 79 Arioso

Io mia sento 1' alma in sen Melissa d'-g t'I 89 Duets

Cangia al fine il tuo rigore Oriana. I'-g' Amadigi 2 7 82

2 3 Tenor role. 24Tenor role. 25Ibid.

2 6 Also found in W. G. Whittaker, editor, Arias from Handel's Italian Operas.

27Contralto role. 96

Duets Role

Crudel, tu non farsi Melissa f'-gf' Amadi gi 55 Recitative

Addio , crudo Amadigi Melissa e '-g ' ' 88

Arianna (1733), HCE Vol. 83 Arias

Deh! lascia un tal desio ti prego, idolo mio Arianna f'.-Bb I 15 Non ha diffesa Alceste(c) dt -g't 52 Par che voglia il ciel sereno, rischiarar Alceste(c) 89 Sdegno, amore fanne guerra a questo core Arianna et~atVfe'f-a''I 34 Se nel bosco resta solo e'f-a''I rusignolo col suo canto Arianna d#'-a''I 82 So che non e piu mio Aria nna eb'-a'' 55 Son qual stanco pellegrino Alceste(c) d'-g'' 73 Tal' or d' ascuro velo ricopre Alceste(c) 26 Turbato i mar si vede con subita nrocella Arianna 99

Duets

Deh, taci, crudel Arianng Teseo2g 80 Mira adesso questo seno piu sereno Arianna f'-a''

Ariodante (1735), HCE Vol. 85 Arias

Apri le luci, e mira gli ascosi Dalinda f#'-g''V 13 Del mio sol vezzosi rai Lurcanio(c) 45 Il mio crudel martoro crescer non puo di piu Ginevra d#' -g'V 93

28Contralto role. 97

Arias Role Il primo ardor e cosi caro Dalinda f'3-Bb'' 48

Il tuo sangue, ed il tuo zelo Lurcanio(c) d'-a'I 87 Io ti bacio, o mano augusta Ginevra 108 Mi palpita il core ne indendo perche Ginevra 84 Neghittosi or voi che fate? Dalinda t 102 Orrida a gl' occhi miei Ginevra f'-a ' 9 Si morro, ma 1' onor mio meco Ginevra e#' -a I'I 111 Tu vivi, e punito rimanga 1' eccesso Lurcanio(c) d'-gb 67 Volate, amari, di due bei core Ginevra f'-.Bb'' 23

Ariosos

Manca, oh Dei! Ginevra. 125 Vezzi, lusinghe, e brio Ginevra g'-a'' 6

Duets Bramo haver mille cori, per consacrarli a te Ginevra e'I-a'' Ariodante 29 126 Prendi da cuesta mano il pegno Ginevra Ariodante 20 Se rinasce nel mio cor Ginevra Ariodante 52 Spera, spera io gia mi pento Dalinda e'-a''f Lurcanio(c) et-f#'' 120

Recitative

A me impudica Ginevra, f'-g'' 92

Arminio (1737), HCE Vol. 89 Arias

Al furor che ti consiglia ad Augusto Tusnelda E' vil segno d' un debole more Tusnelda e'-Bb' 28 Il sangue al cor favella amore Sigismonde(c)e'-a'' 80

2 9Contralto role. 98

Arias Role

Impara a non temer dal mio costante amor Sigismondo(c)e'-g'' 92 Non son sempre vane larve Sigismondo(c)d'-ab'' 22 Quella fiamma, ch' il petto m' accende Sigismondo(c)d'-c''' Rendimi il dolce sposo due vite io ti dovro Tusnelda g#'-a''I 64 Scaglian amore e sangue Tusnelda f#'-a' 'I 14 Va, combatti ancor da forte Tusnelda f '-a''f 89 Ariosos

Ho veleno e ferro avanti Tusnelda 76 Tra speme e timore mi palpita il core Tusnelda f'-g I 82 Duets

Il fuggir, cara mia vita Tusnelda Arminio30 6 Quando piu minaccia ii Cielo Tusnelda Ramise31 77 Ritorna nel core vezzosa brilliante Tusnelda g 'g'' Arminio 99

Atalanta (1736), HCE Vol. 87 Arias Bench ' io non sappia ancor Atalant a f '-a ' f 59 Lascia ch' io parta solo Meleagro(c) f -.Bb'' 9 Lassa' ch' io t' ho perduto Atalanta 33 M' allontano, sdegnose pupille Meleagro(c) Non sara poco, se il mio gran foco Meleagro(c) f' -c'' 1 23 Riportai gloriosa palma3 2 At alant a e ' -a'I'f 21 Se nasce un rivoletto Atalanta f#'-a''t 54+ Si, si, mei raccordero Meleagro(c) e'- at t 42 Tu solcasti il mare infido agitata navicella Meleagro(c) 69

30 Contralto role. 3 1Alto role.

3 2 Also found in William Thomas Best, editor, Fift Arias by Handel. 99

Ariosos Role Page

Al varco, oh pastori Atalanta t~a I 18 Care selve, ombre beate33 Meleagro(c) f#'-g#''I 8 Custodite, o dolci sogni, del mio ben At alanta f#'-f#'' 68

Duets

Caro, nel tuo bel labbra Atalanta g'-Bb'' Meleagro(c) e'-Bb'' 75 Oh Dei, che voui? Taci! Atalanta g '-a'' Meleagro(c) e'-e''I 37

Berenice (1737), HCE Vol. 90 Arias

Avvertite mie pupille, non tradite 1' onor mio Berenice f'-g'' 88 Che sara' quando amante accarezza Alessandro(c)e'-a'' 10 Chi t' intende? o cieca ins tabile! Berenice e'-Bb'' 75 Dice amor, quel bel vermiglio Berenice e'-a''I 23 In quella, sota in quella caudida mano e bella Alessandro(c)f'-g'' 86 La bella mano, che mi piago Alessandro(c)e'-a'' 52 No, che seruvie altrui Berenice g'-Bb'' 6 Quell' oggetto, ch' e caro a chi adore Alessandro(c)e'-ab'' 29 Sempre dolci Berenice e '-a'' 40 Traditore, traditore! Berenice d'-a'' 58

Arioso

Mio bel sol, dove t' aggiri Alessandro(c)c#'-a'' 49

33Also found in Will Earhart and Frank LaForge, Pathw of Songs, III, p. 51, and Ernest V. Wolff, Handel's Fifteen Arias for High Voice. 100

Duets Role R

Se il mio amor fu il tuo dlitto Berenice e'-a'' Dimetrio31+ 32 Le diral* Alessandro(c)e'-g#'' Arsage35 84 Quella fede, quel volto Berenice g#'-af' Alessandro(c)e'-f#'' 92

Deidamia (1741), HCE, Vol. 94

Arias

Ai Greci questa spada sovra i nemici estinti Achille(c) e-al ' 106 Consolami se brami Deidamia e'-b' ' 126 Da lusinghe, di dolcezza non fatica non asprezza Nerea g'-a''I 20 D' amor nel primi istanti facili son gli amanti Nerea e'-a''158 Mai resa infelice Deidamia d'-Bb'' 110 Nasconde 1' usignol' in alti rami i1 nldo Deidamia d'-b''t 47 Non ti credo, non ml fido Nerea 78 Non vuo perdere lustante Nerea 128 Quando accenderan quel petto Deidamia g'1-ab' 29 Quanto ingannata e quella Nerea d'-Bb'' 101 Seguir di selva in selva la fuggitive belva Achille(c) 27 Se il timore il ver mi dice infelice Deidamia e#'-g#''I 63 Se pensi amor tu sol per vezzo e per belta36 Achille(c) 32 quel che tu S*, che desio '-atI brami maggiar legami Nerea f 36 Si, m' appaga, si, m' aletta auella vaga collinetta Achille(c) g#'-a''I 92 Va, perfido! De idamia f'.-Bb 88

34Alto role. 3 5Ibid.

36 Also found in William Thomas Best, editor , Fift Arias by Handel. 101

Ar iosos Role

Due bell' alme inamorate Deidamia f '-Bb''I 18 Lasciami! Tu sei fedele? Achille(c) '-B '' 56 Ma chi sa, se mi riama il mio bene Deidamia df' -g't 19

Duets

Ama nell' armi, e nelt' amar Deidam g '-a'' Ulisse 134

Ezio (1732), HCE Vol. 80

Arias

A! non son io che parlo e il barbaro dolore Fulvia e#'-a'' 103 Caro padre, a me non dei mammentar che padre sei Fulvia e'-a''I 13 Finche un zeffiro soave Fulvia f ' -a'I'f 38 La mia costanza non si sgomenta Fulvia et'-a' 'I 70 Quel finger affretto allor che non s' ama Fulvia e '0-a' 56 Sulle sponde di cocito Fulvia 114

Recitatives

Che fo? dove mi volgo Fulvia 52 Misera, dove son! Fulvia f#'.g-g'' 102

Faramondo (1738), HCE Vol. 91

Arias

Chi ben ama, ogu' altro affetto nel suo petto Adolfo(c) 14 Combattuta da due venti Clotilde e '-a'' 62 Coroscero, se brami ch' io t' ami C16tilde 10 Mi parto lieta sulla tua fede Clotilde e'-Bb' I 4-0 Poi che pria di morire mi beo, pupille care Faramondo(c) c'I-a''f 60 Rival ti sono, ma son fedel Faramondo(c) c'-g' 'I 23

3 7 Contralto role. 102

Arias Role Range Sappi, crudel, io t' amo Rosimonda d'-et' 106 Se a' piedi tuoi morro, la destra baciero Adolfo(c) el'-g'' 68 Se ber mi lusinga 1' infida speranz4 so pur FaraTmondo(c) dt -g'' Sento, che un gusto sdegno mi sprona a vendicarmi Rosimonda Bb.ftt 34 Se ria procella sorge nell onde Adolfo(c) d'-g'' 101 Si, 1' intendesti Rosimonda c'-f' 51 Un' aura placide e t lusinghiera dopo le pene Clotilde e' -a' 109 Vanne, che piu ti miro Rosimonda b-e ' ' 19 Voglio che sia I' indegro vittima del tuo sdegno Faramondo(c) dt-g'' Anioso

Si, tornero a m6rir Faramondo(c) 33

Duets Caro, tu ml accendi nel mio care dolce f iamma Clot ilde e'-a'' Adolfo (c) 86 Vado e vivo con la speranza Faramondo (c) Rosimonda d'-dt'' 80

Flavio (1723), HCE Vol. 67 Arias

Amante stravagante piu del mio ben Emilia e '-b' ' 32 Che bel contento sarabbe amore Vitige(c) 24 Da tu parto, ma concedi ch' ilmio duolo Emilia e'-Bb' 63 Ma chi punir desio? Emilia 58 Non credo instabile chi mi piago Vitige(c) e'-f#t Parto, si, ma non so poi Emilia e'-g#'' 103

Arias Role

Quanto dolci4 quanto care son le givje38 Emi ia f#'-at'I 10 Sirti, scogli, tempeste Vitige (c) d'-g'' I 70 Arloso

Corrispondi a chi t' adora Vitige(c) 66 Duet

Ti perdono, oh carol bene Emilia a'-f'I' Guido319 79 Recitative

Oh Guido! oh mio tiranno Emilia e'f'' I 73

Floridante (1721), HCE Vol. 65 Arias

Amor commanda40 Timante(c) 102 Dopo i nembo e la procella Timante(c) g' -g'' 34 Dope 1' ombre d' un fiero sospetto Rossane 19 Godo 1' alma innamorata Ros sane f -a'' 48 Lascioti, oh bella, il volto Timante(c) f '-9''1 46 Ma un dolce mio pensiero Rossane e'-g'' 10 No, non piangete Timante(c) 83 Ob dolce mia speranza Rossane e '-g''I 12 0 quanto e caro amar Rossane 5 Se risolvi abbandonarmi Rossane 87 Sospiro, e vero Rossane d'-g'' I 31 Vanne, sequil' ' mio desio Rossane f f-a''I 99 Duet Fuor di periglio di fiero artiglIIa Rossane Timante(c) e'-a ' 65

38Also found in Otto Dresel, editor, Handel Arien ftr Sopran. 39Contralto role.

'Also found in Handel Renaissance, refers to Gtinther, editor, Handel Renaissance. 104

Giulio Cesare (1724), HCE Vol. 68 Arias

Cara speme, questo core tu cominci a lusingar Sesto(c) f#'-g'' 36 Da tempeste ii legno infranto 1 Cleopatra. e '-a' ' 117 La giustizia ha gia sull' arco Sesto (c) 113 T' aure che spira tiranno e fiero Sesto(c) 89 Cleopatra e -a 21 Non disperar; chi sa?4 f'-gb'' Piangero la sorte mia42 Cleopatra 100 Se pieta di me non senti Cleopatra 83 Svegliatevi nel core43 Sesto(c) c f -g9'1't 17 Tu la mio stella sei Cleopatra f'f-ab' 38 Tutto puo donna ve71zosa Cleopatra e'-a''I 30 V' adore, puppille Cleopatra f'-g''I 56 Venere bella, per un istante deh! Cleopatra e'-at'I 76

Duet

Caro! piu amabile belta mal non Cleopatra Cesare5 - 128 Son nato a sospirar Sesto(c) d#'-e'' Cornelia 48 Recitatives

Che sento? oh, Dio! Cleopatra 82 9e'-g 1''9 t '' Voi, che mie fide ancelle Cleopatra, '- 115

- . - -- .. . I mil-1 -- -i- IIlididia illII I I IIilil illil Mlii

41lAlso found in William Thomas Best, editor, Fifty Arias b Handel.

4 2Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for High Voice, and W. T. Best, editor, _cit.

4 3Also found in Ernest V. Wolff, editor, p. cit. p. 47.

4Also found in W. T. Best, editor, . cit,

4 5Contralto role. 105

Guistino (1737) HCE Vol. 88

Arias Role Range page Da' tuoi begin' occhi impara Arianna e'-a' f 13 Di Re sdegnato 1' ire tremenda Anastasio(c) c'-ab' ' 95 II mio cor gia piu non sa ' raffrenar Arianna f '-ab' 98 Mio dolce amato sposo Arianna 57 Non si vanti un alma audace Anastasio (c) 46 0 fiero e rio sospetto Anastasio(c) 86 Quel torrente che s' inaulza sulla sponda Arianna 80 Ti rendo questo cor, che ti serbo 1' amor Arianna 111 Un vostro sguardo, o luci arciere Anastasio(c) f'-a''I 9 Arioso Verdi lauri Anastasio(c) 73 Duet Mia dolce spenet Arianna ft-Bb'' Anastasio(c) f t-a''I 66

1 Pastor Fido (1712), HCE Vol. 59 Arias Allor che sorge astro lucente Mirtillo (c) ICI 33 Augelletti, ruscelletti, che cantando Mirtilli (c) d ' -g9'1't 14 Caro Amor, sol per momenti Mirtilli(c) eg'-a'' 30 D' allor trionfante si cinga la fronte Burilla 60 Di goder il bel ch' adoro si lusinga Eurilla 21 Fato crudo, amor severo Mirtillo(c) g '-g'' 13 Finte labbia! Amarilli f ' -g 't I 35 Lanton del mio tesoro struggo I' amante cor Mirtillo(c) 20 Nel mio core ritorna il contento Mirtillo(c) 47 No! non basta un infedele lo strale Amarilli d ' -a'I'I 42 106

Arias Role Range Occhi belli, voi sol siete Eurilla g'-g'' 32 Ritorna adesso amor con la speranza in sen Eurilla g '9g'' 50 Secondaste al f ine Eur illa fgf'-g'' '9a'' 63 Son come navicella Amarilli 17 Duet

Per te, mio dolce bene Amarilli d'-g'' Mirtillo(c) d'-g'I f 66 Recitative

Oh! Y;irtillo , Mirtillo! Mal grado I' amor mio Amarilli 65

Imeneo (1740), HCE Vol. 93 Arias

E si vaga del tuo bene Clomiro et-a'hI 56 Io son quella navicella Rosmene d'-Bb'' 102 Ingrato mai non fui Rosmene e' -a'' 25 In mezzo a voi dui qui lascio il mio core Rosmene 76 Semplicetta, la saetta non intendi ancor d' amore Rosmene e'-Bb'' 46 Se ricordar ten vuoi Clomiri f '-Bb' 85 Ve un infelice che per te more Clomiri e'-a''I 35 Ar iosos

Al voler di tuo fortuna gia Rosmene acconsenti Ro smene g#. 101 Deh! m' ajutate, oh Dei! Rosmene g'-g''I 42 Duet Per le parte del tormento passan It anime a gioir Ro smene +6 eI-g#'' Tirinto 105

4 6Contralto role. 107

Recitative Role Range Page Miratila, che arriva cinta di negromante Rosmene 98 Trio

Bramando uscir di pene Rosmene g '-a'' Tirint Imeneo 7 68

Lotario (1729), HCE Vol. 77 Arias

D' una torbida sorgente nasce il rio Adelaide 73 Menti iterne che reggete de' mortali Adelaide ct-ab'' 58 Non sempre invendicata io restiro cosi Adelaide e'-Bb'' 90 Quel cor, che mi donasti Adelaide f'I-Bb''I 30 Scherza in mar la navicella. Adelaide d#' -a'' f 46 Duet

Si, prode amante, tu sei gradito AdelaidC Lotario 118 Recitatives

Soglio, digli avi miei Adelaide g '-g'' 21 Sommo rettor del Cielo Adelaide 72

Muzio Scevola (1721) , HCE Vol. Arias

Come, se ti vedro, cara, partir potro? Orazio(c) e' -g#'' 33 Dimmi, crudele Amore 4 9 Clelia. d'-eD'' 17

47Tenor role. 48Contralto role.

49Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for Ligh Voice, p. 37. 108

Arias Role

Lungo pensar e dubitar Clelia d'-g'' 6 Non ti fidar, perche il desire lusinga e ver! 0 Fidalma f ' -Bb't' 29

Duets Ma come amar? Cleli* e'f''I Mjuzio'1 60 Vivo senza alma, oh bella Orazi (c) f t-g1 Irene Recitative

Io d' altro regno Clelia Ib-' I 16

Orlando (1733), HCE Vol. 82 Arias

Amor e qual vento Dorinda b-b'' Chi possessore e del mio core Angelica e '-a'' Cosi giusta e questa speme che se 1' alma Angelica 80 Ho un certo rossore Dorinda e ' - a'I'I 20 Non potra dirmi ingrata Angelica 58 Oh care parolette, oh dolci squardi Dorinda dt-Bb'' 28 Se fedel voi ch' 10 ti creda Angelica, e' -a'' 32 Se mi rivolgo al piato5 3 Dorinda e'-ab'' 46 Verdi piante Angelica d'-a''I 61

Ariosos

Ed innestar to vuoi Dorinda g '-g'' 77 Quando spieghi i 9# -a'1 ' tuoi tormenti Dorinda. f'-a''I 43 Ritornava al suo bel viso Angelica 22

5 0Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for i Voice, p. 14.

51C.lontralto role. 52Alto role.

5 3 Also found in E. V. Wolff, editor, Handel's Fifteen Arias for High Voice, p. 54. 109

Duet Role Finche prendi ancor i sangue Angelica f t-ab' ' 93 Orlando5 Recitative

Quanto diletto avea tra questi boschi Dorinda e '-e'' 17

Trio

Gentil pastorella Angelica e'-a't Dorind e'-g''I Medoro 38

Ottone (1723), HCE Vol. 66

Arias 5 6 Affanni del pensier Teofane g-t ab''I 39 Alla faina, dimmi il vero! Teofane f'.-BbI 61 Dir 11 potessi vidi Teofane 102 Falsa imagine T eof ane f#'-a' ' 22 Giunt in porto e la speranza Gismonda dt.g t 15 Gode I' alma consolata quella calma Teofane 110 Pensa ad amare Gismonda b-f #t t 35 S' io dir potessi al mio crudeleM Teofane f#'-a''f 70 Spera, si mi dice il core57 Teofane fg'-a '' 138 Tra queste are ombre gradite5C Teofane g'-ab'' 142 Trema, tiranno, ancor dice ti ii fato allor Gismonda d'-g'' 84 Vieni, o figlio, e mi console Gismonda d#' -f #''1 55

5'Contralto role. 5 5 Alto role.

56Also found in William Thomas Best, editor, Fifty Arias ; Handel.

57In appendix of HCE. 58Ibid. 110

Arioso Role

Pur che regain il figlio amato Gismonda f'-g'' 12 Duet

A' teneri affetti il cor at abbandoni Teofana f '-a''I Ottone59 118 Notte coral a te si dove il trionfo Gismond go Of#'-g'' Matilda00 78

Recitative

0 grati orror! Teofane 68

Partenope (1730), HCE Vol. 78

Arias

Io ti levo 1' empero dell' Armi61 Partenope f '-b'' 40 L' amor ed il destiny combattera per me Partenope f f-Bb 10 Non chiedo, oh luci vaghe Armindo9 2 e'-f#''I 80 Qual forfaletta gira a quel lume Partenope 81 Si, scherza, si sempre Amor con doppia face Partenope f#'-a'' 120 Sei mia gioja, sei mio bene Partenope f'I-Bb 31 Spera e godi, oh mio tesoro Partenope f'I-Bb 95 Voglio amare insin ch' 10 Moro Partenope 65 Voglio dire al mio tesoro Armindo f#'-at'I 17

Ar ioso Care mura Partenope f'-a'' 63

6 0 59 0ontralto role. Alto role.

6 1 Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for H4h Voice, p. 41.

6 2The role of Armindo was changed from a contralto role to a soprano role in the 1737 production. Only her arias in this production are listed here. 111

Aduo Role Range

Ed i per te Parten pe Arsace0 3 30

Poro (1731) , HCE Vol. 79 Arias

Come 11 candore d' intall ineve Cleofide e '-g '' 115 Digli, ch io son fede Cleofide g9-ab' 48 Se il ciel mi divide dal carol mio sposo Cleof ide e'-a'' 58 Sei mal turbo il tuo riposo Cleofide 19 Se troppo crede al cIglio f '-a''f colui che va per 1' onde Cleof ide 71 Arioso

Spirto amato dell idol mio deh raccogli Cleofide eb'_gft A duo Caro, vieni al mio seno Cleo 4de a#'-f''I 96 Poro

Duets

Caro amico amplesso! Cleofide e'g#'I Poro 42 Se mai piu saro geloso Cleofide eb'--a'' Poro 34

63 1n appendix of HCE.

64Contralto role. 112

Radamisto6 5 (1720), HCE Vol. 63 Ar ias Role Range ' Barbaro, partiro Polissena f'-B /187 Care sposa e'-f#' ' Radamisto (c) ' 17 Deh! fuggi un traditore Tigrane(c) f'-a ' /122 Dolce bene di quest' alma Radamisto(c) d'-g'' 84 Dopo 1' orride procelle Polissena f'-g ' 35 Fatemi, oh cieli, almen Polissena f#'-g' ' /170 Ferite, uccidete, oh numi del ciel! Radamisto(c) e'-a'' 22 Lascia pur amica spene le tue pene Fraarte f#t-g# /151 La sorte, il ciel, amor promettono Tigrane(c) f'-g'' ' 61 LI ingrato non amar Tigrane(c) f'-ab' /122 Mirero quel vago volto Fraarte e'-g''1 30 ' Non sara quest' alma mig6 Polissena 9g- 67/162 Ombra cara di mia sposa Radamisto(c) et'-g' ' 43/143 0 sumami il diletto Zenobia e'-f't /204 Qual nave sm rrita tra serti 7 Radamisto(c) d'-g'' 102 SI adopri il braccio armato Fraarte e'-g''1 78 Segni di crudelta del fiero sposo avrai Tigrane(c) f'-g'' /137 So ch' e vana la speranza Tigrane(c) c'-d'' /174 Sposo ingrato, parto si Polissena g#'-a' ' 90 Spero placare quel caro volto Fraarte ft-g''i 58 Tu vuoi ch' io parta Polissenae'-g#' ' Troppo sofferse gia questo mio petto Polissena g'-g''t /168 Vaga e bella ogn' or vedrai Fraarte f'-g''i ' 50 Vanne, sorella ingrata Radamisto(c) e'-ab' 65 Vuol ch' io serva amor la bella Tigrane(c) f#-a' '

65In the 1728 production Handel was forced to change and alter many of the airs due to the change of singers. The role of Radamisto was changed from a soprano to con- tralto role and Zenobia's role was changed from an alto to a soprano. Only the soprano arias are listed here. The line indicates which version the air was used.

66 Also found in Ebenezer Prout, editor, Songs and Airs by G. F. Handel, II, p. 15. 67Ibid, I, p. 32. Also found in William Thomas Best, editor, Fifty Arias bv Handel. 113

Ark so Role Page 68 Sommi Del! Polissena g'-a'' 6 Duets

Non ho piu affanni no in braccio del mio bene Zenobia e f-e I' Radamisto(c) /201 Se teco vive 11 cor cara Radamisto(c) Zenobia 74

Riccardo (1727), HCE Vol. 74 Arias Ai guardi tuoi son pur vaga Pulcheria 53 Bacia per me la mano del caro idolo mio Costanza 98 Bella, tuo non ho ne' sdegno ne rigor Pulcheria 22 Caro vieni a me! Costanza e'-a''e' -a'' I 49 Di notte il pellegrino Costanza 37 Il volo cosi fido al dolce amato nido Costanza f#'-a'' 110 L' aouila altera conosce i figli Pulcheria d'-g'' I 69 Lascia la pace all' alma! Costanza f#'-mat t 25 Quando non ve e la cara madreO9 Pulcheria 125 Quel gelsomino Pulcheria 1+6 Quell' innocente affletto core, fedele amore Pulcheria 89 Se peri 1' amato bene Costanza e'-ab' ' 10 Tutto brillante rai per lungo scintillar PulcherIa f ' -g9'f t 115 Ar lo so s

Marte, vieni! Costanza f t -g''I 88 Si, me contrario 11 Cielo Costanza e'-g#''t 33

6 8 Also found in William Thomas Best, editor, Fifty Arias _x Pandel.

69 In appendix of HCE. 114

Duet Role Range T' amo, si e piu m' appaga Costanza t -g#' Riccardo7O 72 Recitatives

Ah, padre! Ah, Cielo! Pulcheria 9'-g'' 45 Alto immenso poter Costanza f f-g'' 92 '' Tascia, Berardo, lasciami! Costanza g f 5

Rinaldo7 1 (1711), HCE Vol. 58 Arias

Abbruggio, avvampo e fremo Rinaldo(c) d'-d''I 68/176 Ah! crudel il pianto mio Armida 72/183 Augelletti, che contate zefiratte Almirena 31/147 Bel piacere e godere Almirena, 97 Cara sposa, amante cara, dove seiW Rinaldo(c) b-e''I 39/152 Combatti da forte Almirena f'-ab' 7 Cor ingrato, ti rammembri Rinaldo(c) c-e''I 42 E' un incendio fra due venti Rinaldo(c) cl-c''I 88 Furie terribili! Armida 25 Il Tricerbero humiliaeo Rinaldo(c) a-f 't'f 3 54+ Lascia, ch' 10 pianga( Almirena f t-g''I 61/168 Molto Voglio, molto spero Rinaldo(c) g'-a' 'I 29/116

70Contralto role.

71 In the 1731 production Handel was forced to change and alter many of the airs due to the change of singers. The roles of Rinaldo and Armida were changed from soprano to contralto roles. Only the soprano arias are listed here. The line indicates which version the air was used.

72 Also found in Ebenezer Prout, editor, Sons and Airs by G. F. Handel, I, p. 1.

7 3Also found in Knud Jeppesen, editor, La Flora, I, p. 41, Will Earhart and Frank LaForge, Pathways of Songs, II, p. 48, Ebenezer Prout, editor, Songs and Airs h_ G. F. Handel, I, p. 7, and Ernest V. Wolff, editor, Handel's Fifteen Arias for High Voice, p. 23. 115

Arias Role Range

Ogui indugio d' un amante 4 Rinaldo(c) d'-a' 'I 10 Paroletti, vezzi e sguardi Almirena e'-a'1 f /180 Su caro si, ti stue, al fin cosi Almirena /212 Venti, turbini, prestate le vostre ali Rinaldo(c) O# -e'' I 46 Vo! far guerra7 5 Armida g t-b''I 78/117 Duets

Al trionfo del nostro furore Armida Argante76 93 Al trionfo del nostro furore Almirena Goffredo77 /198 Fermati! Armida son fedel Armida f'-a''I Rinaldo(c) 65/174 Scherzano sul tuo volto Almirena Rinaldo (c) c '-d' 'I 35/149

Recitatives

Dunque i lacci d' un volto Armida f'-a' f 70

Rodelinda (1725), BCE Vol. 70

Arias Ahi perche, guisto ciel Rodelinda f'-ab'' 89 Ho perduto il ro sposo78 Rod elinda e'-ab'' 6 Mio caro bene! Rodelinda g'-af'I 103 it., p. 45. 74 Also found in Jeppesen, Pp. .

75In appendix of FCE and also found in William Thomas Best, editor, Fifty Arias y Handel.

76Bass role. 77Tenor Role.

78Also found in W. G. Whittaker, editor, Arias from Handel's Italian Operas.

791bid. 116

Arias Role Range Page T'empio rigo0 del fato vilo non potra Rodelinda dl-Bbf 8 Morrai s l'empia tua testa 82Rodelinda d'I-g#' 'I 29 Ombre, piante, urne funeste82 Rodelinda g#'-a''I 24 Ritorno, oh caro dolce mio tesoro, a dar0 Rodelinda 65 Se il mio duol non e s forte Rodelinda f'ab'' 91 Spietati; io vi giurai 4 Rodelinda f'-ab'' 45 Duets

Io t' abbraccio, e piu che morte aspro Rodelinda Bertarido8 5 72 Se il cor si perde, ob caro8 6 Rodelinda e'-g#' Bertarido 112

Rodro (1707), HCE Vol. 56 Arias

Alle glorie, alle palme Florinda e'-Bb'I 74+ Begl' occhi dgl mio ben, dal lucidoO7 Florinda d-' -g'I Cosi, m' alletti, cosi sei cara a me Evaneo 87 Dolce amor, che mi consola Rodrigo(c) 58 Egli e tuo! Esilena 54 Empio fato e fiera sorte Esilena e'-ab'' 62 Fredde ceneri d'amor Florinda 58 Heroica fortezza Evaneo g-g'' 27

8OAlso found in W. G. Whittaker, editor, Arias from Handel's Italian Loeras. 8 81Ibid. 2Ibid. 8 3Ibid.

8 4 AIso found in William Thomas Best, editor, Fifty Arias by Handel.

85 Contralto role. 86 1n appendix of HCE. 8 7 Also found in Otto Dresel, editor, Handel Arien fttr Sopran. 117

Arias Role R an ge

Il dolce foco Mio 88 Evaneo 89 In mano al mio sposo Esilena f '-a' I 25 Lucide stella ^ Evaneo g' -a'' 95 Nasce ii sol Esilena 15 Oh morte Vendetta Florinda 33 Parto, crudely, si parto Esilena d'-a' I 56 Per dar pregio all' amor mio Esilena f'-.g''1 40 Perche viva i caro sposa Esilena dt.-gI'I 80 Prestami un solo dardo evaneo 5l Pugneran con noi le stelle Rodrigo(c) 13 Si che lieta godero Esilena 70 Siet azzai superbe, oh stelle Rodrigo (c) 59 Sommi, Dei! se pur v'offesi Rodrigo(c) 31 Su! all'armi grida Nemesi Evaneo f#' -a','f 72 Ti lascio a la pena Rodrigo(c) f'I-ab 24 Vanne in campo, e vedrai Rodrigo(c) f'-g'' 1 38

Duets

Prendo L'alma prendo il core Esilena g '-a'' Rodrigo(c) d'-g'' I 91

Scipione (1726), HCE Vol. 71 Arias

Bella notte senza stelle Berenice 96 Com' onda incalza altr'onda Berenice g ' -ab 'I 49 Dolci aurette che spirate Berenice e'-ab'' 23 Gia cessata e la procella 3erenice e'-a t t 84 Libera chi non e i lacci del suo pie0 Armire g'-f#''t 19 Mi par sognor di posseder8 9 Berenice d I-a ' 135 Scioglio d' immota fronte nel torbido elemento I3erenice 63 Si fuggano i tormenti Berenice '-g'' 109 Un caro amante Berenice d-a I 11 Varme, parti, audace Berenice 28 Voglio cententa allor serbar del pie Armira e'-a''1 55

88 Also found in Otto Dresel, editor, Handel Arien ftir Sopran.

8 9The aria is unfinished in HCE. 118

Arioso Role

Tutta raccolta ancor Berenice g'-ab'' 41 Recitative

Oh sventurati affetti Berenice g'..gb'' 23

Serse (1738), HCE Vol. 92

Arias Amor, tiranno Anor Arsamene e' -e'' 98 Chi cede al furore di stelle rubelle Romilda 89 Crude furie degl' orride abissa Serse(c) 113 Dira che amor per me9 0 Atalanta 58 Romilda 65 E'gelosia quella tiranna ' -et. 1 E' tormento troppo fiero Serse(c) Ke' e-g'-e'' 56 I core spera e teme penando ogn'or cosi Serse(c) e'-g''I 78 Io le diro che 1'amo ne e' -g '' mi sgomentaro Serse (c) f '.a-f'' 14 col mio partiri Arsamane c'-Bf' 21 Meglio in voi b'-abf'I Yon so se sia la speme Arsamane 39 Per rendermi beato Serse(c) 96 Piu che penso alle e'-f' fiamme del core Serse(c) 34 Quella che tutta fe per me Ar samane 71 languia d'amore d#'-g# t Se bramate d'amar Serse(c) 61 Se l'idol mio rapir mi vuoiP Romilda 44 Si, la voglio e la ottero Arsamane 76 Si, si, mio ben si, si, io e'-a''I vivo per te sol Atalanta 'I 17 91fi-g'' t Un cenno leggiadretto9 l Atalanta 46 Val piu contento core Romilda. 87 Voi mi dite che non l'almi Atalanta 78

90 Also found in W. G. Whittaker, editor, Arias from Handel's Italian Operas.

9 1Also found in Ernest V. Wolff, editor, Handel's Fifteen Arias for ih Voice, p. 70. 119

Ariettas Role Range Page Di tacere e di schernirmi 92 Serse(c) 22 Ne men con l'ombre d'infedelta 93 Romilda e'-af'I 24 No, se tu mi sprezzi9+ Atalanta 94 Va godendo vezzoso e bello Romilda 12

Ariosos

A piangere o n'ora Atalanta f'-eb'' 55 Ombra mai fu 5 Serse(c) 6 0 voi che senate! Romilda g'-g''f 10 Per dar fine alla mia pena Arsamane 74

Duets Gran pena e gelosia Serse(c)6 g -g'' Amastre96 L'amero Romilda e '-g'' Serse(c) 60 Troppo oltraggi la mia fede Romilda Arsamane 106

Recitatives

Frondi tenere Serse(c) 6 L'amero? non fia vero Romilda eb'.g'' 65

9 2 Also found in Knud Jeppesen, editor, La Flora, I, p.

9 3 Also found in W. G. Whittaker, editor, Arias f rom Handel's Italian pe~ras

94Ibid.

9 5 Also found in Earhart and Laforge, Pathways of Songs, II, p. 57, Jeppesen, o cit., I, p.' 2, and Ebenezer Prout, editor, Songs and Airs _y G. F. Handel.

9 6Alto role. 120

Siroe (1728), HCE Vol. 75 Arias Role Page

Ch' lo mai vi possa Emira d#t-gt 'I 87 Dogni amator la fede e sempre mal sicura Emira e '-g'' La mia speranza diceva al core Emira e'-g''I 98 L'aura non semrre spira a favore di nove0 Laodice eb'-a'' 65 Mi lagnero tace do97 Laodice e'-a''I 42 Yon vi piacque9 Emir a e '-g#' 'I 67 0 placido ii mare lusinga Laodice 21 la sponda Of'-a'' Or mi perdo di speranza Laodice 37 Se il coro figlio vede in periglio Laodice 72 Sgombra dell' anima tutto ii timor Emira e'-a''I 4 99 Torrente cresciuto Laodice e'-g'' 9? Vedeste mai sul prato Emira eb'_g' ' 30

Sosarme (1732), ECE Vol. 81

Arias

Dide pace , e fulminate 1 Elmira f '-a'' 38 Rend' II sereno al clgliol 0 0 Elmira f#'-g ' t' 12 Vola l'augello del caro nido, ma sempre fido Elmira d#' -a'' I 80 Vorrei, ne pur soprei Elmira g'-Bb' 96

Arioso Padre, germano, e sposo Elmira e'-a''I 42

9 7 Also found in W. T. Best, editor, Fifty Arias _ Handel.

984Ibid.

99Also found in Otto Dresel, editor, Handel Arien fttr Soprano.

100Also found in W. T. Best, op. cit., and Earbart and LaForge, Path of Songs, I, p. 52. 121

Duets Role Per le porte del tormento passan l'anime Elmira Sosarme 101 60 Tu caro sei il dolce mio tesora Elmira f'-att Sosarme 102

Tamerlano (1724), HCE Vol. 69

Arias Cor di padrel 02 Asteria. d'-ab' I 90 Crudel piu non son io Irene c'-d''I 107 Deh! Lasciatemi il nemicol03 Asteria e#'-g#''I 28 No che sei tanto costante nella fede Irene c'-d''I 84 Non e piu tempo Asteria e'-a''f 49 Padre volte amato Asteria e '-a ''I 134 Par che mi nasca in senolO4 Irene 58 20 Se non mi vuol amar Asteria e-a''I Se potessi un di placare Asteria 86

Arioso t Folle sei, se lo consenti Asteria et-Bb ' 116

Duets

Vedro ch'un di si cangera Irene 0 d'-e' Tamerlanol05 123 Vivo in te, mio caro bene Asteria d'-a'' Andronicol06 102

10 1 Alto role.

1 0 2 Also found in W. G. Whittaker, editor, Arias from Handel's Italian Operas.

103Ibid. 10Ibid.

105Alto role.

10 6 Contralto role. 122

Recitatives Role Range

?arbaro! or manca solo il morir mio Asteria Bb-'flt 141 Mirami, io quella son che gia due volte Asteria 133 Padre, amante, di voi Asteria e'-g'' 116

Trio Eccoti il cor, saro contenta Asteria f#'-g''t Tamerlano Bajazet'07 79

Teseo (1713), HCE Vol. 60

Ar ias

Amarti si vorrei, 1 ciel lo sa Agilea 83 Dal cupo baratro venite Medea 76 Deh serbate Agilea f#'-a''f 14 oh luci belle Ag ilea 74 Deh! v'aprite, g'-g'' E'pur ballo Agilea F#'-a' 'I 10 Il ciel gia se compiace Minerva 106 g '-g'', 25 MNadora 1'idol mio Ag ilea t Noriro, ma vendicata Medea d'-ab 90 Non so piu che bramar Teseo (c) e'-g''I 45 0 stringero nel sen quel ben ch'adoro Medea Qual tigro e qual Negera 1'impresse Teseo(c) 81 Quanto ch' a me sian care Teseo (c) 44 nato a forza Medea eb' f I 321+ Quell'amor, ch'e t Risplendeto Clizia d -g'' S'armi il fato Teseo (c) e ' f#'f' 59 Sibillando, ululando g' -g' atterrate la rival Medea 65 Si t'amo, oh caro Ag ilea 100 Tengo in pugno, l'idol mio Teseo(c) 96 Ticredo, si ben mio Clizia f 1-.9' ' 17 Vieni, torna, idol miol08 Ag ilea f'f' I 56

10 7Tenor role. 108Also found in W. G. Whittaker, editor, Arias from Fandel's Italian peras. 123

Ariosos Role. Range Page Chi ritorna alla mia mente Teseo(c) eb'g' It 79 Dolce riposo Yedea d'-g'' I 30

Duets g '-g' Addio! mio caro bene Clizia Arcanel 09 19 Cara! io dono in pegno il corThseo(c) Agila g#'-~tta' Si ti lacio, altro more io chiudo Medea Eziol 0 35 Unito a un puro affetto Cli zia g'-g'' Arcane 103

Recitatives

Es sent i del mio sdegno Mede a f '~g-I'' 105, Ira, sdegni, e furore Medea S '-f '' I 47 Ombre, sortite dall'eterna notte Medea f 1-g'' 63

Tolomeo (1728), HCE Vol. 76

Arias

Aure, portate al caro bene le tante pene Seleuce 36 Dite, che fa, dove Seleuce -a 4+6 Fonti amiche, aure leggiere Seleuce 24 I mio core non apprezza volgar fiamma 0 El isa f'-g'' 42 in dualo"' Cleopatra f#'-a' ' 90 Io vo di duolo ' ad ogni fronda Seleuce f -.a' 16 Mi volgo ' Parmi che giunta in porto 1 1 2 Seleuce e -g' 92 Quanto e felice quell'augelletto Elissa d'-g'' 34 Blisa Quell'onda, che si frange e'-g#''I 13 Senza il suo bene la tortorella sospira Seleuce 65 Se talor miri un fior che non puo germogliar Elissa I' - I I' 19

10 9Alto role 110Ibid.

lllIn appendix of HCE. 1 1 2 Ibid. 124

Arias Role Range Page

Ti pentirai Elisa d'-g'' 68 Torni omai la pace all'alma Seleuce g '. -g'' 75 Voglio amore o pur vendetta Elissea d'-g'' I 62 Arioso

Voi dolci aurette al cor Elisa d'-g'' I 31

Duets

Se il cor ti perde Seleuce f #'-g# Tolomeoll3 51+ Tutto contento or gode quest alma innamorata Seleuce el9' Ig Tolomeo 81

"13Contralto role. APPENDIX IV

SOPRANO ARIAS, DUETS AND RECITATIVES IN

ALPHABETICAL ORDER VJITF CORR RESPONDING OPERA AND LOCATIONII4

6 AriasI 5 Operas Locationhl 68 6 Abbruggio avvampo e framo(c) Rinaldo V.58,p. /17 Affanni del pensier Ottone V.66,p.39 8 Ah! crudel il pianto mio Rinaldo V.5 ,p.72/18 3 Ahi perche, guisto ciel Rodelinda V.70,p.89 Ah mio corl Alcina V.86,p.82 A! non son io che parlo Ezio V.80,p.103 A! spietato! Amad igi V.62,p.17 Greci questa spada sovra i Ai 4 nemice estinti(c) Deidamia V.9 7p.106 Ai guard tuoi son pur vaga Riccardo V.74A1,p.53 Al furor che ti consiglia ad Augusto Arminio V.89,p.48 Alla fama, dimmi il vero! Ottone V.66,p.61 Alla sua gabbia d'oro suol talor Alessandro V.72,p.78 ritornar 4 Alle glorie, alle palme Rodrigo V.56,p.7 Allor che sorge astro lucente(c) Il Pastor Fido V.59,p.33 Amante stravagante piu del mio ben, non v'e Flavio V.67,p.32 Amarti si vorrei Teseo V.60,p.83 Ama, sospira Alcina V.86,p.70 Amor commanda(c) Floridante V.65,p.102 Amor e qual vento Orlando V.82,p.84 Amor, tiranno amor Serse V.92,p.98

ll4Also includes ariosos, ariettas, trios and quartets.

115Castrati arias are indicated by (c).

11 6 Refers to HCE.

125 126

Arias Operas Location Apri le luci, e mira gli ascosi Ariodante V.85,p.13 Augelletti , che contate Rinaldo V. 58 ,p.31/147 Augelletti ruscelletti Il Pastor Fido V.59,p.14 Aure, por tate al caro bene le tante pene Tolomeo V.76,p.35 Avvertite mie pupille Berenice V.90,p.88 Bacia per me la mano del caro idolo mio Riccardo V.74,p.98 Barbara: io ben lo so(c) Alcina V.86,p.136 Barbaro, partiro Radamisto V.63,p. /187 Beglocchi del mio ben Rodrigo V.56,p.94 Bell notte senza stelle Scipione V.71,p.96 Bella pur nel mio diletto Agrippina V.57,p.82 Bella, tuo non ho me'sdegno ne rigor Riccardo V.74,p.22 Bel piacere e godere Rinaldo V.58,p.97 Bel piacere e godere fido amor Agrippina V.57,p.121 Bench'io non sappia ancor Atalanta V.87,p.59 Blinder Schtitz Almira V.55,p.86 Brilla nell' alma un non inteso anchor Alessandro V.72,p.102 Cara speme(c) Giulio Cesare V.68,p.36 Cara sposa, amante cara Rinaldo V.58,p.39/152 Caro Amor sol per momenti(c) Il Pastor Fido V.59,p.30 Caro padre Ezio V.80,p.13 Cara sposa(c) Radamisto V.63,.17 Caro vieni a me! Riccardo V.74 ,p.49 Che bel contento sarabbe amore( c) Flavio V.67,p.21+ Che sara quando amante accarezza(c) Perenice V.90,p.10 Che tirannia d'amor fuggir Alessandro V.72,p.74 Chi ben ama(c) Faramondo V.91,p.14 Chi cede al furore di stella rubelle Serse V.92,p.89 Chi m'insegna il carol padre(c) Alcina V.86,p.25 Chi piu mi piace io voglio Almira V.55,p.11 Chi possessore e del mio core Orlando V.82,p.24 Chi sa, mia speme Almira V.55,p45 Chi t'intende? o cieca instabile! Berenice V.90,p.75 Ch'io lasci mai d'amare il carol mia tesero Amadigi V.62,p.69 Ch tio mai vi possa l'asciar d' amore Siroe V.75,p.87 Col peso del tuo amor Agrippina V.57,p.90 Coll'ardor del tuo bel caro(c) Agrippina V.57,p.111 Combatti da forte Rinaldo V.58,p.7 127

Arias Location Combattuta da due venti Faramondo V.91,p.62 Come ii candore d'intalla neve Poro V.79,p.115 Come, se ti vedro cara, Partir potre?(c) Muzio Scevola V.647,p.33 Com'onda incalza alti'onda Scipione V.71,p.49 Consaggio tuo consiglio(c) Agrippina V.57,p.9 Consolami se brami Deidamia V.94,p.126 Cor di padre, e cor d'amante Tamerlano V.69,p.90 Cor ingrato, ti rammembri Rinaldo V. 58,p. 42 Coroscero, se brami ch'io t'ami Far amondo V.91,p.10 Cosi guista e questa speme che se l'1alma Orlando V.82,p.80 Cosi m'alletti, cosi sei cara a me Rodrigo V. 56,p.87 Credete al mio dolore Alcina V.86 ,p.110 Crude furie degl'orride abissa(c) Serse V.92,p.ll3 Crudel pur non sen io, amarlo T amerlano V.69,p.107 Da lusinghe, di dolcezza non fatica non asprezza Deidamia V.94,p.20 Da tanti affanni oppressa Admeto V.73,p.66 Da tempeste il legno infrante Giulio Cecsare V.68,p.117 Da tu parto, ma concedi ch'il mio duolo FlaviG V.67,p.63 Da tuoi begl'occhi impara V.88,p.13 D'allor trionfante si cinga la fronte Il Pastor Fido V.59,p.60 D'amor nei primi instanti facili son gli'amanti Deidamia V.94,p.58 Dal cupo baratro ventie Teseo V.60 ,p.76 Deh! fuggi un traditore(c) Radamisto V.63,p. /122 Deh! lascia un tal desio t prego Arianna V.83,p.15 Deh! lasciatemi i nemico Tamerlano V.69,p.28 Deh! v'aprite, oh luci belle Teseo V.60,p.74 Deb! serbate Teseo V.60,p.14 Der Fimmel wird strifen Almira V.55,p.69 Der Mund sprichte zwargezwingen: Nein Almira V. 55,p.40 Destero dall'empia dite ogni furia a farvo guerra Amadigi V.62,p.71 Del mio sol vezzosi rai(c) Ariodante V.85,p. 45 Di, cor mio, quanto t'amai Alcina V. 86,p,.22 Di goder il bel ch'adore si lusinga Il Pastor Fido V.59,p.21 Di notte il pellegrino Riccardo V.74,p.37 Di Re sdegnato l'ir, tremenda(c) Siiistino V.88,p.95 Di te mi rido, semplice stolto(c)Alcina V.86,p.27 128

Arias Location

Dica il falso, dica il vers Alessandro V.72,p.92 Dide pace, e fulminate Sosarme V.81,p.38 Digli, ch'io son fede Poro V.79,p.48 Dimmi, crudele amore Muzio Scevola V.61+,p.17 Dir 1i potessi vidi Ottone V. 66 ,p.102 Dira che amor per me piagato il cor non gli ha Serse V.92,p. 58 Dite, che fa, dove Tolomeo V.76,p.46 Dogni amator la fede e sempre mal sicura Siroe V. 75,p.14 Dolce Amor, che mi consela(c) Rodrigo V.56,p.68 Dolce bene di quest' alma(c) Radamisto V.63,p.84 Dolci aurette che spirate Scipione V.71,p.23 Dopo il nembo e la procella(c) Floridante V.65,p.3+ Dopo l'ombre d'un fiero sospetto Floridante V.65,p.19 Dopo 1'orride procelle Radamisto V.63,p.35 D'una torbida sorgente nasce il rio Lotario V.77,p.73

E che ci posso far, se non ti posso amar Admeto V.73,p.66 EI gelosia quella tiranna Serse V.92,p.65 E per monti e per piano e per selve Admeto V.73,p.66 E'pur bell Teseo V.60,p.10 E si vaga del tuo bene Imeneo V. 93 ,p. 56 E'tormento troppo fiero(c) Serse V.92,p.56 E un foco quel d'amore Agrippina V.57,p.40 E' un incendio fra due venti(c) Rinaldo V.58,p.58 E'vil segno d'un debole more Armbinio V. 89 ,p.28 Egli e tuo! Rodrigo V. 56 ,p.514 Empio fato e fiera sorte Rodrigo V. 56,p.62

Fa quanto vuoi, 1i scherni tuoi Agrippina V. 57,p.45 Falsa imagine Ottone V.66,p.22 Faro cosi riu bella la bella fede mia Admeto V.73,p.22 Fato crudo, amor severo(c) Il Pastor Fido V.59,p.13 Fatemi, oh cieli, almen Radamisto V.63,p. /170 Ferite, uccidete, ob numri del ciel!(c) Radamisto V.63,p.22 Finche un zeffiro soave Ezio V.80,p.38 Finte labbia! Il Pastor Fido V.59,p.35 Fonti amiche, aure leggiere Tolomeo V.76,p.2 + Fredda ceneri d'amor Rodrigo V. 56 ,p. 58 Furie terribill! Rinaldo V.'58,p.25

Gelosia, spietate Aletto Admeto V.73,p.69 8 Geloso tormento Almira V. 55,p.2 129

Arias Location

Gia cessata e la procella Scipione V.71,p.84 Gioja venite in sen Amadig i V. 62,p. 28 Giunt in porto e la speranza Ottone V.66,p.15 Gode ltalma consolata quella calma Ottone V. 66,p.110 Gode l'alma innamorata Floridante V.65,p.48

Heroica fortezza Rodrigo V. 56,p.27 Ho un certo rossore Orlando V.82,p.20 Ho un non se che nel cor Agrippina V. 577,p.43 Ho perduto il caro sposo Rodolinda V. 70,p.6

Ich brenne zwar, dock ohne dein Bewegen Almirea V. 55,p.112 Il ciel gia se compiace Tolomeo V. 76 ,p. 90 Il core spera e teme penando ogn'or cosi(c) Serse V.92,p.78 6 Il dolce faco mio ch'accende Rodrigo V. 5 ,p.25 Il mio core non apprezza volgar fiamma Tolomeo V. 76 ,p.42 Il mio crudel martoro puo di piu Ariodante V.85,p.93 crescer non 48 Il primo ardor e cosi caro Ariodante V.85, p. Il sangue al cor favella amore(c) Arminio V.89,p.80 Il Tricerboro humiliato(c) Rinaldo V.58,p.54 Il tuo sangue, ed il tuo zelo(c) Ariod ante V.857,p .87 Il volo cosi fido al colce amato nido Riccardo V.74,p.l0 Impara a non temer dal. mio Arirniiio V. 89 ,p. 92 costante amor(c) 88 Ingannata una sol volta Agrippina V. 57,p. Ingrato mai non fui Imeneo V.93,p.25 In mano al mio sposo Rodrigo V. 5 ,p.25 In mezzo a voi dui qui lascio il mio core Imeneo V.93,p.76 In quella, sota in quella candida mano e bella(c) eerenice V.90,p.86 Io godo, scherzo e rido crude, nel tuo dolor Ama digi V.62,P.37 Io le diro che L' amo ne mi sgomentaro(c) Serse V. 92 ,p. 106 Io son qual Fenice risorte dal foco Admeto V.73,p.123 Io son quella navicella. Imeneo V.93,p.102 Io ti bacio, oh bella imago Admeto V.73,p.101 V.85,p.108 Io ti bacio, e mano augusta. Ariodante 4 Io ti levo 1'empero dell'Armi Partenope V.78,p. 0 Io vo di duolo in duolo Tolomeo V. 76 ,p. 90 130

Arias Location

Kochet, lhr Adern, Entzundete flache Almira V.55,p.9 6 La bella mano, cbe mi piago Berenice V.90,p. 52 La bocca vaga(c) Alcina V.86,p.46 La cervetta nei lacci avolta Alessandro V.72,p.84 La dove gli occhi io giro Admeto V.73,p.102 La guistizia ha gia sull'arco(c) Giulio Cesare V.68,p.113 La mia speranza diceva al core Siroe V.75,p.98 La sorte, il ciel, amor promettone(c) Radamisto V.63,p.61 L'alma mia fra le tempeste Agrippina V. 577,p.20 L'amor, che per te sento Alessandro V.72,p.110 L'amor ed il destiny conbattera per me Part enope V. 78,p .10 Lanton del mio tesero struiggo l'amante cor(c) II Pastor Fido V. 599,p.20 L'armi implora dal tuo figlio Alessandro V.72,P.135 L'aquila altera conosce i figli Riccardo V. 741,p.69 Lascia, ch'lio parta solo(c) Atalanta V.87,p.5'9 Lascia, ch'lio pianga Rinaldo V.58 ,p.61/16 8 Lascia le pace all'alma Riccardo V.74 ,p.25 Lascia pur amica spene le tue pene Radamisto V.63,p. /151 Lascioti, oh bella, il volto(c) Floridante V.65,p.46 Lassa ch'lio t'ho perduto Atalanta V.87,p.33 T'aure che soira tiranno e fiero(c Giulio Cesare V.68,p.89 L'aura non sempre spira a favor di nove Siroe V.75,p. /65 L'empio rigor del fato vilo non potra Rodelinda V. 70,.8 Tiberi chi non e i lacci del suo pie Scipione V.71,p.19 L'ingrato non amar(c) Radamisto V.63,p. /122 Luci care, addio, posate Admeto V.73,p.13 Lucide stella, gemelle d'amor Rodrigo V. 56,p.95 Lungo pensar e dubitar Muzio Scevola V.64,p.6 Lusinghe piu care Alessandro V. 72 ,p. 20

Ma chi punir desio? Flavio V. 67 ,p. 58 Ia quanto tornerai Alcina V.86,p.116 Ma un dolce mio pensiero Floridante V.65,p.10 M'adora l'idol mio Teseo V.60, p.25 Mai resa infelice, 4 che vanto n'avri Deidamia V.9 ,p.110 M'allontano, sdegnose pupille(c) Atalanta V.87,p. 51 Meglio in voi col mio partiri Serse V.92,p.21 Menti iterne che reggete de'mortali Lotario V. 779,p.58 131

Arias Operas Location hi lagnero tacendo del mio destino avaro Siroe V.75,p.42 Mi lusinga il dolce affetto(c) Alcina V. 86,p.67 Mi palpita il core ne indendo perche Ariodante V.85,p.84 Mi par sognor di posseder Scipione V.71,p.135 Mi parto lieta sulla tua fede Faramond.o V.91,p .4 Mi restano le lagrime Alcina V.86,p.129 Mi volgo ad ogni frenda Tolomeo V.76,p.16 Mio bel tesoro(c) Alcina V.86,p.75 Yio caro bene! non ho piu affani e pene Rod elinda V.70,p .103 Mio dolce amiato sposo Giu-stino V.88,p. 57 Mirero quel vago volto Radamisto V.63,p.30 Molto voglio, molto spero(c) Rinaldo V. 58 ,p.29/1 6 6 Moriro, ma vendicata Teseo V.60,p.90 Morrai si, l'empia tua testa Rodelinda V.70,p.29 Move i passi alle ruine Almira V.55,p.60

Nasce il sol, e laura vola ride Rodrigo v.56,p.15 Nasconde l'usignoliin alti rami iI nido Deidamia V.94,p.47 Neghittosi or voi che fate? Ariodante V.85,p.102 Nel mio core ritorna il contento(c) Il Pastor Fido V.59,p.42 No che. sei tanto costante nella fede Tamerlano V.69,p.84 No, che seruvie altrui Berenice V.90,p.6 Lo, no, non voglio, no Almira V. 55,p. 55 No! non basta un infedele lo strale Il Pastor Fido V. 59,p.4 2 No, non piangete(c) Floridante V.65,p. 83 No, piu soffrir non voglio Alessandro V.72,p.33 Non chiedo, oh luci vaghe Partenope V.78,p.80 Non credo instabile chi mi piago(c) Flavio V.67,p.55 Non disperar; chi sa? Giulio Cesare V.68,p.21 Non e piu tempo Tamerlano V. 69 ,p.49 Non ha diffesa(c) Ar anna V.83,p.52 Non ho cor che per armarti Agrippina V. 57,p.53 Non potra dirmi ingrata Orlando V. 82 ,p.'58 Non sara poco, se il mio gran foco(c) Atalanta V.87,p.23 Non sara quest'alma mia Radamisto V.63,p.67/162 Non sempre invendicata 10 restiro cosi Lotprio V.77,p.90 Non si vanti un alma audace(c) Giinstino V.88,p.+6 Non son sempre vane larve(c) Arminio V.89,p.22 Non ti credo, non mi fido Deidamia V.94,p.78 132

Arias Operas Location Non ti fidar, perche il desire lusinga e ver! Muzio Scevola V. 64,p.24 Non vi piacque ingiusti Dei Siroe V.75,p.67 Non vuo perdere lustante Deidamia V.94,p.128 Nulla sperar da me Agrippina V. 57,p.75 Occbi belli, voi sol siete Il Pastor Fido V. 59,p.32 Ogni indugio d'un amante(c) Rinaldo V. 58 ,p.10 Ogni vento ch'a~l porto lo spinga Agrippina V. 57,p.105 0 fiero e rio sospetto(c) Ginstino V.88,p.86 0 quanto e caro amar Floridante V.65,p.5 0 placido il mare lusinga la sponda Siroe V. 75',p. 21 0 s'apre al riso Alcina V.86,p.7 0 sumani il diletto Radami sto V.63,p. /204 0 stringere nel sen quel ben ch'adoro Teseo V.60,p.48 Oh care mio teser, deb! Amadigi V. 62 ,p.34 Oh care parolete, oh dolci sguardi Orlando V.82,p.28 Oh dolce mia speranza Floridante V.65,p.12 Oh morte Vendetta Rodrigo V.56,p.33 Ombra cara di mia sposa(c) Radamisto V.63,p.43/143 Ombre, piante, urne funeste Rodelinda V.70,p.24 Or mi perdo di speranza Siroe V.75,p.37 Orrida a gl'occhi miei Ariodante V.85,p.9 Par che mi nasca in seno Tamerlano V.69,p.58 Par che voglia il ciel sereno Arianna V.83,p.89 Padre volte amato Tamerlano V.69,p.134 Parmi che giunta in porto Tolomeo V.76,p.92 Paroletti, vezzi e sguardi Rinaldo V.58, p. /180 Parto, crudel, si parto, per dar Rodrigo V.5'6,p.56 Pensa ad amare Ottone V.66,p.35 Pensieri, voi me tormentate Agrippina V.57,p.94 Perche viva il caro sposa Rodrigo V.56 ,p.O80 Per dar pregio all'amor mio Rodrigo V. 56,p.40 Per rendermi beato(c) Serse V.92,p.96 Piu che penso alle fiamme del core(c) Serse V.92,p.34 Piu non vuo tra si e no Almira V.55,p.31 Poi che pria di morire mi beo, pupille care Faramondeo V. 91, p. 60 Prestami un solo dardo Rodrigo V.56 ,p.51 Pugneran con noi le stelle(c) Rodrigo V. 56 ,p.13

Qual farfaletta gira a quel lume Partenope V.78,p.81 Qual nave smarrita tra serti(c) Radamisto V.63,p.102 Qual tigro e qual Megera 1'impresse(c) Te-Pseo V.60,p.81 133

Arias Location

Quando accenderan quel petto Deidamia V. 94 ,p.29 Quando invita la donna 1'amante(c) Agr ipp ina V. 57,p.92 Quando non vede la care madre Riccardo V.74),p.125 Quanto ch'a me sian care(c) Teseo V. 60,p.44 Quanto dolce amor saria Alessandro V.72,p.17 Quanto dolci, quanto care son le gioje Flavio V.67,p.10 Quanto e felice quell'augelletto Tolomeo V.76,p.34 Quanto godra, allor che mi ved ra Admeto V, 73,p.49 Quanto ingannata e quella Deidamia V.94,p.101 Quel cor, che mi donasti Lotario V.77,p.30 Quel gelsomino Riccardo V.74,p.46 Quel torrente che s'inualza sulla sponda GItstino V.88,p.80 Quell'amor, ch'e nato a forza Teseo V.60,p.32 Quell'innocente affletto core, fedele amore Riccardo V.74 ,p.89 Quell'oggete, ch'e caro a chi adoro(c) Berenice V.90,p.29 Quell'onda, che si frange Tolomeo V. 76 ,p.13 Quella che tutta fe per me languia d'amore Serse V.92,p.71 Quella fiamma, ch'il petto m'accende(c) Arminio V.89,p.52 Quillt, ihr uberhguften Zahren Almira V. 55,p.82 Rend'il sereno al ciglio So sarme V.81, p.12 Rendimi il dolce aposo due vite io ti dovra Arminia V.89,p.64 Riportai gloriosa palma Atalanta V.87,p.21 Risplendeto, amiche stelle Teseo V.60,p.54 Ritorna adesso amor con la speranza in sen Il Pastor Fido V.59,p.50 Ritorno, oh carol e dolce mio tesoro, a dar Rodelinda V.70,p.65 Rivel ti sono, ma son fedel(c) Faramondo V.91,p.23 St adopri il braccio armato Radamisto V.63,p.78 Sanera la piaga un di Almira V. 55,p.67 Sappi, crudel, io t'amo Faramondo V.91,p.106 S'armi il fato s'armi amore(c) Teseo V.60,p. 59 Scaglian amore e sangue Arminio V. 89 ,p .14 Scherza in mar la navicella Lotario V.77,p.87 Schdnste Rosen und Narcissen Almira V. 55,p.13 Scioglio d'immota fronte nel torbido elemento Scipione V.71,p.63 134

Arias Location

Sdegno, amore fanne guerra a questo core Arianna V.83,p.31+ Se a'piedi tuoi morro Faramondo V.91,p.68 Se ben mi lusinga l'infida seranza, se pur(c) Faramondo V.91,p.4 4 Se bramate d'amar(c) Serse V.92,p.61 Secondaste al fine Il Pastor Fido V.59,p.63 Se fedel vuoi ch'io ti creda Orlando V.82,p.32 Segni di crudelta del fiero sposo avrai(c) Radamisto V.63,p. /137 Seguir di selva in selva la fuggitiva belva(c) Deidamia V.94,p.27 Se il ciel mi divide dal caro mio sposo Poro V.79,p.58 Se il caro figlio vede in periglio Siroe V.75,p.72 Se il mio duol non e si forte Rodelinda V.70,p.91 Se il timore il ver mi dice infelice Deidamia V.941 ,p.63 Sei mia gioja, sei mia bene Partenope V.78,p.31 Se l'idol mio rapir mi vuoi Serse V.92,p.44 Se mai turbo 11 tuo reposo Poro V.79,p.19 Se mi rivolgo al piato Orlando V.82,p.46 Semplicetta, la saetta non intendi ancor d'amore Imeneo V.93,p.46 Sempre dolci Berenice V.90,p.40 Se nasce un rivoletta Atalanta V.87,p.54 Se nel bosco resta solo rusignolo col suo canto Arianna V.83,p.82 Se non mi vuol amar Tamerlano V.69,p.20 Sento, che un giusto sdegno mi sprona a vendicarmi Faramondo V.91,p.34 Sen vola io sparviser Admeto V.73,p.40 Senza il suo bene la tortorella sospira Tolomeo V.76,p.65 Se pensi amor tu solo per vezzo e per belta(c) Deidamia V.94,p.32 Se peri l'amato bene Riccardo V.74,p.10 Se pieta di me non senti Giulio Cesare V.68,p.83 Se potessi un di placare Tamerlano V.69,p.86 Se quinge un dispetto Agrippina V.57,p.57 Se ria procella sorge nell onde(c) Faramondo V.91,p.lOl Se ricordar ten vuoi Imeneo V.93,p.85 S'estinto e l'idol mio Armadigi V.62,p.46 Se talor miri un fior che non puo germogliar Tolomeo V.76,p.19 Se troppo crede al ciglio colul che va per I'onde Poro V.79,p.71 135

Arias Location

Se tu brami di godere Amadigi V.62,p.63 Se vuoi pace, e volto amato Agrippina V. 577,p.133 Sgombra dell'anima tutto il timor Siroe V.75,p.49 Si, caro, si, ti stringo al fin cosi Admeto V.73,p.ll5 Si che desio quel che tu brami maggiar legami Deidamia V.94,p. 36 Si che lieta godere Rodrigo V. 56,p.70 Si fuggano i tormenti Scipione V.71,p.109 Si e la voglio e la ottero Serse V.92,p.76 Si, I'intendesti Faramondo V.91,p.51 Si, mr'appaga si, m'alletta quell vaga collinetta(c) Deidamia V.94,p.92 Si, m'e caro imitar quel bel fiore Alessandro V.72,p.100 Si morro, ma l'onor mio meco Ariodante V.85,p.lll Si, scherza, si sempre Amor con doppia face Partenope V.78,p.120 Si, si, mei raccordero(c) Atalanta V.87,p.42 Si., si, mio ben si, si, io vivo per te sol Serse V. 92,p.17 Si t'amo, oh caro Teseo V. 607,p. 100 Sibillando, ululando atterrate la rival Teseo V.60,p.65 Siet azzai superbe, oh stelle(c) Rodrigo V. 56,p.559 S'io dir potessi al mio crudele Ottone V. 669,p.70 Sirti, scogli, tempeste, procelle m'additan le stelle(c) Flavio V. 67 ,p.70 So ch'e vana la speranza Radamisto V.63,p. /174 So che non e piu mio m'abbandono l'ingrato(c) Arianna V.83,p.55 Sommi, Dei! se pur vtoffesi(c) Rodrigo V. 567,p.34 Son come navicella Il Pastor Fido V. 59 ,p.17 V.83,p.73 Son oual stanco pellegrino Arianna Sospiro, e vero Floridante V.65,p.31 Sotto il lauro che hai sul crine(c) Agrippina V. 57,p.77 Spera allor, che in mar turbato Admeto V. 73 ,p.18 Spera e godi, oh mio tesoro Partenope V.78,p.95 quel caro volto Radamisto V.63,p.,58 Spero placare V.66,p.138 Spero, si mi dice i core Ottone Spietati; io vi giurai Rodelinda V.70,p.45 V. 63,p.90 Sposo ingrato, parto si Radamisto Sta nell Ircana pietrasa tana(c) Alcina V.86,p.119 Su! all'armi grida Yemesi Rodrigo V. 56,p.72 Su caro si, ti stue, al fin cosi Rinaldo V.58,p. /212 Sulle sponde di cocito Ezio V.80,p.114 Svegliatevi nel core(c) Giulio Cesare V. 687,p .17 136

Arias Location Tal'or d'ascuro velo ricopre(c) Arianna V.83,p.26 Tengo in pugno, I'idol mio(c) Teseo V. 60,p.96 Ti credo, si ben mio Teseo V. 60 ,p.?17 Ti lascio a la pena(c) Rodrigo V. 566,p.24 Ti pentirai Tolomeo V. 76,p.68 Ti pentirai, crudel Amadigi V.62,p. 52 Ti rend.o questo cor, che ti serbo 1'amor Giinstino V.88 ,p.ill Tornami a vegheggiar Alcina V. 86 ,p. 51 Torni omai la pace all'alma Tolomeo V.76,p.75 Torrente cresciuto per torbida piena Siroe V. 75,p.98 Tra queste care ombre gradite Ottone V.66,p.142 Traditore, traditore! Berenice V. 90 ,p. 58 Trema, tiranne, ancor dice a ti il fato allor Ottone V.66,p.84 Troppo sofferse gia questo mio petto Radamisto V.63,p. /168 Tubbato il mar si vede consubita procella Arianna V.83,p.99 Tu ben degno sei dell'allor Agrippina V. 57,p.30 Tu la mio stella sei Giulio Cesare V. 68 ,p.38 Tuo ben el trono, io non Agrippina V. 57 ,p.76 Tu solcasti ii mare infido agitata navicella(c) Atalanta V.87,p.69 Tutto brillante rai per lungo scintillar Riccardo V.74,p.115 Tutto puo donna vezzosa Giliio Cesare V. 68 ,p.30 Tu vivi, e punito rimanga l'eccesso(c) Ariodante V.85,p.67 Tu vuoi ch'io parta Radamisto V.63,p.ll

Un'aura placide e lusinghiera dono le pene Faramondo V.91 ,p.l109 Un caro amante Scipione V. 71 ,p. 11 Un cenno leggiadretto Serse V.92, p.46 Un lusinghiero dolce pensiero Al essandro V.72,p.41 Un vostro sguardo(c) Ginstino V. 88 ,p.9

Va, combatti ancor da forte Arminio V.89,p.89 V'adoro, puppille Giulio Cesare V. 68 ,p. 56 Vaga e bella ogn'or vedrai Radamisto V. 63 ,p. 50 Vaghe perle Agrippina V. 57 ,p.35 Val piu contento core Serse V. 92 ,p.87 Vanne, che piu ti miro Faramondo V.91,p.19 Vanne in compo, e vedrai(c) Rodrigo V. 56,p.35 Vanne lungi dal mio petto Amadigi V.62,p.79 Vanne, parti Scipione V.71,p.28 Vanne, sequi'l mio desio Floridante V.65,p.99 137

Arias Location

Vanne, sorella ingrata(c) Radamisto V.63,p.65 Va, perfido Deidamia V.94,p.88 Vedeste mai sul prato Siroe V.75,p.30 Vedrai, s'a tuo dispetto Almira V.55,p.99 Vedro fra poco Admeto V-73,p.84 Veneri bella Giulio Cesare V.68,p. 76 Veni, o figlio Ottone V.66,p.55 Venti, turbini(c) Rinaldo V.58,p.46 Verdi piante Orlando V.82,p.61 Verdi prati(c) Alcina V.86,p.94 Ve un infelice che per te more Imeneo V.93,p.35 Vieni, corna idol mio Teseo V.60,p.56 Vo! far guerra Rinaldo V. 58 ,p.78/17 Voglio amare insin ch' to moro Partenope V.78,p.64 Voglio amore o pur vendetta da chi l'alma Tolomeo V. 76,p. 62 Voglio cententa allor serbar del pie Scipione V.71,p.55 Voglio che sia l'indegro vittima del tuo sdegno(c) Faramondo V.91,p.94 Voglio dire al mio tesoro Partenope V.78,p.l7 Voi mi dite che non l'almi Serse V.92,p.78 Vola l'augello del caro nido Sosarme V.81,p.80 Volate, amari, di due bei core Ariodnate V.85,p.23 Vod'kommene Hunde Almira V. 55,'p.26 Vorrei, ne pur sopret Sosarme V.81,p.96 Vuol ch'io serva amor la bella(c)Radamisto V.63,p. /146 Werthe schrift geliebte Zeilen Almira V.55,p.loo Ariettas

Di tacere e di schernirmi(c) Serse V.92 ,p.22 Ne men con l'ombre d'infedelta Serse V.92,p.24 No, se tu mi sprezzi Serse V.92,p.91+ Va godendo vezzoso e bello Serse V.92,p.12 Ar osos

A piangere ogn' ora Serse V.92,p.55 Al varco, oh pastori Atalanta V.87,p.18 Al voler di tuo fortuna gia Rosmone acconsenti Imeneo V.93,p.101 Aure, fonti, ombra gradite Alessandro V.72,p.62 Care mura Partendpe V.78,p.63 Care selva, ombre beate(c) Atalanta V.87,p.8 Chi ritorna alla mia mente(c) Teseo V.60,p.79 Col celarvi(c) Alcina V. 86,p.55 Corrispondi a chi t'adora(c) Flavio V.67,p.66 138

Ariosos Location

Custodite, o dolci osgni At a plant a V.87,p.68 Dolce riposo Teseo V.60,p.30 Due bell'alme inamorate Deidamia V.94,p.18 Ed innestar tu vuoi Orlando V.82,p.77 Folle sei, se lo consenti Tamerlano V. 69,p.116 Ho veleno e ferro avanti Arminio V.89,p.76 Io mia sento 1'alma in sen Amadigi V.62,p.89 Lasciami! Tu sei fedele?(c) Deidamia V.941,p.56 Ma chi sa, se mi riani ii mio bene Deidamia V.941,p.19 Manca, oh Dei! Ariodante V.85,p.125 Marte, vieni! Riccardo V.74,p.33 Mio bel sol, dove t'aggiri(c) Berenice V.90,p.49 0 voi che penate Serse V.92,p.10 Ombra mai fu(c) Serse V.92,p.6 Padre, germano, e sposo Sosarme V.81,p.42 Per dar fine alla mia pena Serse V.92,p .74 Pur che regai il figlio amato Ottone V.66,p.12 Qual piacer a un cor pietoso(c) Agrippina V. 57,p.22 Qual portento(c) Alcina V.86,p. 57 Quando spieghi i tuoi tormenti Orlando V.82,p.43 Ritornava al suo bel viso Orlando V.82,p.22 Si, me contario i Cielo Riccardo V.74,p.33 Si, tornero a morir(c) Faramondo V.91,p.33 Sommi Dei(c) Radamisto V.63,p.6 Spirto amato dell idol mio deh raccogli Poro V. 79,p.194 Tra speme e timore mi palpita il core Arminio V.89,p.82 Tutta raccolta ancor Scipione V.71,p.41 Verdi lauri(c) G0itstino V.88,p.73 Vezzi, lusinghe brio Ariodante V.85,p.6 Voi dolci aurette al cor To omeo V.76,p.31

Duets"1 7

Addio mio caro bene Teseo V.60,p.19 Al trionfo del nostro furore Rinaldo V. 58 ,p.93/19 8 Ama nell'armi, e nell'amar, puoi degno in te mostrar Deidamia V.94,p.134 Amar m'e forza ognor Alessandro V.72,p.125 A'teneri affetti il cor s'abbandoni Ottone V.66,p.118 Bramo haver mille cori Ariodante V.85,p. 126 Cangia al fine ii tuo rigor Amadigi V.62,p.82

117:o duets were written for two castrati voices. (c) indicates one voice written for a castrati. 139

Duets Operas Location

Cara io dono in pegno ii cor(c) Teseo V. 601,p.84 Caro amico amplesso Poro V.79,p.42 Caro, nel tuo bel labbra(c) Atalanta V. 87,p.75 Caro piu amabile belta mai non Giulio Cesare V.68,p.128 Caro, tu mi accendi nel mio care dolce fiamma(c) Faramondo V.91,p.86 Caro, vieni al mio seno Poro V.79,p.96 Crudel, tu non forsi Amadigi V.62,p.55 Deh, taci, crudel Arianna V.83,p.80 Ed io per te Partenope V.78,p.30 4 Fermati' Armida son fedel(c) Rinaldo V. 58,p.65A7 Finche prendi ancor il sangue Orlando V.82,p.93 Gran pena e gelosia(c) Serse V.92,p.85 Ich will gar von nichten wissen Almira V. 55,p.35 Io t'abbraccio, e piu che morte aspro Rodelinda V. 70 ,p. 72 Il fuggir cara mia vita Arminio V. 89,p.6 L'amero(c3 Serse V. 92 ,p.60 Le dirai(c) Berenice V.90,p.84 Ma come amar? Muzio Scevola V. 64,p.60 Mein Betruben, masa verschwinden Almira v.55,P.113 Mia dolce spene(c) Ginstino V.88,p.66 Mira adesso questo seno piu sereno Arianna V.83,p.107 Non ho piu affani no in braccio del mio bene(c) Radamisto V.63,p. /201 Notte cora! a te si dove il trionfo Ottone V. 66 ,p. 78 Oh Dei, che vuoi? Faci!(c) Atalanta V.87,p.37 Per le porte del tormento passan l'anime a gioir Imeneo V.93,p.105 Per le porte del tormento passan l'anime Sosarme V.81,p.60 Per te, mio dolce bene(c) Il Pastor Fid a V. 9,p.66 pegno Ariodante V.8 5 ,p.20 Prendi de auesta mano il 6 Prendo l'lma prendo ii core(c) Rodrigo V. 5 ,p.91 Quando piu minaccia il Cielo Arminio V.89,p.77 Quella fede, quel volto(c) Berenice V.90,p.92 Ritorna nel core vezzosa brilliante Arminio V.89,p.99 Scherzano sul tuo volto(c) Rinaldo V. 58,p.35/14 9 Se 11 cor si perde, caro Rodelinda V.70,p.112 Se il cor ti perde Tolomeo V. 76,p.81 Se il mio amor fu il tuo delitto Berenice V. 90 ,p.32 Se mai piu caro geloso Poro V. 79,p.34 nel mic cor Ariodante V.85,p.52 Se rinasce 4 Se teco vive il cor cara(c) Radamisto V.63,p.7 Se ve bellezza in me, son belle Alessandro V.72,p.126 Si, prode amante, tu sei gradito Lotario V.77,p.118 Duets Olels Location Si ti lacio, altro amore lo chiudo Teseo V.60 ,p.35 Son d'Amore vella face calma' Alessandro V. 72 ,p. 52 Son nato a sospirar Giulio Cesare V. 68 ,p .948 Spera, spera io gia md pento(c) Ariodante V.85,p*120 Spielet, ihr blitzenden Augen Almira V. 551,p.1o9 T'ealmo, si e p'u m 'appaga Riccardo V. 74 ,.72 Ti perdone, oh caro bene Flavio V.67,. 79 Troppo oltraggi la mia fede 3erse .92,p.106 Tu caro sei il dolce mio tesero Sosarme V.81,p.102 Tutto contento or gode quest alma innamorata Tolomeo V.76,p.81 Vado e vivo con la speranza(c) Faramondo V.91,p.80 Vedro chtun di sicangera Tamerlano V.69,p.123 Vivo in te, mio caro bene Tamerlano V.69,p.102 Vivo senza alma, oh bella(c) Vuzio 3cevola V.641,p.54 6 Unito utni uro &ffetto, non si Teseo V. 0 ,p.10 3

Recitatives

A me impudica Ariodante V.85,p.92 Admeto, traditor, iniquo amante Adrne to V. 73 ,p.16 Addio, crudo Amadigi Amadigi V.62,p.82 Ah, padre! Ah, Cielo! Riccardo v.74,p.1+5 Ah! Ruggiero crudel Alcina V.86, p .97 Alto inmenso roter Aiccardo V. 74,p.92 Barbaro or manca solo il morir mio Tamerlan o V. 69,p.41 Che fo? dove ml volgo E'Zio V.80,p. 52 Che mirai? (for two voices) Alessandro V.72,p.15 Che sento? oh, Dio! Giulio Cesare V.68 ,p.8 2 Dunque i lacci d'un volto TRinaldo V. 589,p. 70 del mio sdegno Teseo V.60,p.105 Essenti 6 Frondi tenere(c) Serse V.92,p. Io d'altro regno Nuzio Scevola V. 64,p.1 6 Ire, sdegni, e furore Teseo V. 60,p.47 L'amero? non fia vero Serse V.92,p.65 Lascia, Berardo, lasciami! Rdiccardo V. 71+),p.5' Mircmi io auella son che gia due volte Tamerlano V.69,p.133 Miratila, che arriva cinta di negromante Imeneo V.93,p.98 Mlisera, dove son! Ezio V.80 ,p.102 0 grati orrori! Ottone V.66,p.68 Ch Guido! oh mio tiranno Flavio V. 67,p.73 Oh! hirtilo, I irtillo! mal grado T'amor mio II Pastor Fido V. 59,p.65 Ch sventurati affetti Scipione V. 71,p.23 Recitatives Location Ombre, sortite d311'eterna nottte Teso V. 60,p.63 Padre, amante, di voi Tamerlano V.69,p.ll6 Quanto diletto avea tra qupesti boschi Orf ando V.82,p.17 Sommo rettor del Cielo Lotario V.77,p.72 Soglio, digli avi miei Lotario V.77,p.21 Solitudini amate Alessandro V.72,p.60 Spegni, oh supreno Regnator di Numi (for two voices) Alessandro V.72,p.123 Vilipses beilezze Alessendro V.72 ,p.37 Voi, che mio fide ancelle Giulio Cesare V.68,p.115 Triosll8 All amist2:. fedel Ales sandro V.72,p.129 Bramando uscir di pene Imeneo V.93,p.68 Eccoti il cor, saro contento T amerlano V.69,p.79 Gentil pastorella Orlando V.82,p.38 on e amor , ne gelosia(c) Alcina V. 86 ,p.140

ll8There is only one trio for which one voice was written for a castrati and it is indicated by (c). BIBLIOGRAPHY

Books

Blom, Eric, Everyman' s Dic tionar of Music, London, J. M. Dent &Sons, Ltd., 19+6.

Brockway, Wallace, and Weinstock, Herbert, Men of Music, New York, Simon and Schuster, 1939. Brockway, Wallace, and Weinstock, Herbert, The Opera, New York, Simon and Schuster, 1941. Burney, Charles, A General History of Music, Vol. II, London, Harcourt, Brace and Co., 1935.

Dent, Edward J., Handel, New York, A. A. Wyn, Inc., 1939.

Flower, newman, George Frederic Handel, New York, Charles Scribner's Sons, 1948. Grout, Donald Jay, A Short History of Orem, Vol. I, New York, Columbia University Press, 1947.

Haas, Robert, Auffithrungspraxis, Potsdam, E. Bucken, 1934.

Hawkins, Sir John, A General Histor of the Science and Practice of Music, Vol. V, London, T. Payne and Son, 1776.

Leichtentritt, Hugo, Handel, , Deutsche Verlags, 1924.

Lowenberg, Alfred, Annals of Opera 1292-1940, Tew York, ?roude Bros., 9 Ramsay, Dean, On the Genius of Handel, Edinburgh and London, William Blackwood and Sons, 1862.

Rockstro, W. S., The Life of George Frederic Handel, London, Macmillan & Co. ,173. Rolland, Romain, Handel, London, Kegan Paul, Trench, Trubner and Co., 1916.

Sanborn, Pitts, and Hilb, Emil, The Metroolitan Book of the Opera, New York, Simon and Schuster, 1938.

142 143

Streatfield, R. A., Handel, London, The Macmillan Co., 1909. Streatfield, R. A., The Opera, New York, E. P. Dutton & Co., 1925. Weinstock, Herbert, Handel, New York, Alfred A. Knopf, Inc., 1946. Williams, Charles Francis Abdy, Handel, London, J. M. Dent & Sons, Ltd., 1935.

Music

Best, William Thomas, editor, Fifty Arias y_ Handel, New York, Boosey and Hawkes, 1949.

Dresel, Otto, editor, Handel Arien ftir Sopran, , Brockhaus Publibhers, 19 7.

Handel, G. F., Werke, edited by Friedrich Chrysander, Hgndelgesellschaft (referred to as HCE), Vols. 55-98, Leipzig, Breitkopf and HErtel, 1858-1902.

Handel Renaissance, edited by Gttnther, Berlin, Bote & Bock, 1938. Jeppesen, Knud, editor, La Flora, Vol. I, Copenhagen, Denmark, Wilhelm Hansen, 1949.

LaForge, Frank, editor, Th Second LII Pons Song Album, New York, Carl Fischer, Inc., 198.

LaForae, Frank, and Earhart, Will, editors, Pathways ofSong , v olss, New York, M. Witmark and Sons, l93+. Frout, Ebenezer, editor, Songs &_ Airs by G. F. Handel, I, New York, Ditson Co.,T96. Whittaker, W. G., editor, Arias from Handel's Italian Operas, London, University Press, 1942. Wolff Ernest V., editor, Handel's Fifteen Arias for High voice, New York, G. Schirmer, Inc., 1940.

Articles Short, Wilfrid Y., "Handel," The Mind of Arthur James Balfour (extracts are taken from the article contri- buted to the "Edinbuirgh Review," Jan. 1887), New York, George E. Doran Co., 1902.