Acting, 26, 75–7, 135 Opera Seria, 75, 136 Singers, 78, 242

Cambridge University Press 978-1-107-03337-5 - The Rival Sirens: Performance and Identity on Handel’s Operatic Stage Suzanne Aspden Index More information

INDEX

acting, 26, 75–7, 135 Bononcini, Giovanni opera seria, 75, 136 Astianatte singers, 78, 242 characterisation in, 9, 72, 73, 89 importance for, 16 and The Distrest Mother, 90 style of, 19–20, 77 ﬁght during, 5, 8, 46, 47–9, 68 Agricola, Johann Friedrich, 32, 52 libretto, 91–6, 110–11, 132–4, Ariosti, Attilio see also: Salvi, Antonio, Astianatte; Il Dario, 54 Haym, Nicola, Astianatte Lucio Vero, 8, 51, 137, 234 plot, 51 Teuzzone, 89 reception, 6, 89, 102, 132, 179 Il Vespasiano, 46, 52, 54, 55, 73, 235 sources, 44, 89, 101 heroism, 234–5 Calfurnia, 39, 54, 72, 101, 234 reception, 234 compositional style, 90, 106 audience Crispo, 98 aesthetics, 157 Erminia, 106 and commodity fetishism, 251–2 factionalism around, 61, 90 see also: rivalry: and dramatic design, 17, 19, 132 Handel/Bononcini opera, 15–17 Farnace, 53, 72 opera seria, 148 Griselda, 24, 98, 99 sentimental, 148 role in rivalry, 90–1, 115, 129 and ornamentation, 248 Bordoni, Faustina the ‘point’, 134 acting, 31, 198, 220 and singer rivalry, 10, 48, 176, 192 biography, 3, 29, 42, 49, 61, 208, 258 story preferences, 180 characterisation, 51–2 voyeurism, 20, 237 active, 50 factions Astianatte, 93 Admeto, 92 complexity, 53, 60 Astianatte, 47–9, 68, 89, 132 masculine, 36, 50–2 female, 205 and public perception, 60 ideology of, 205 Riccardo primo, 73, 184–8, 194 impact of, 10, 47, 49 vocal style, 50, 52–3 Riccardo primo, 195 cross-dressing, 218, 220–1 Aureli, Aurelio persona, 60–1, 69, 219 L’Antigona delusa da Alceste, 151, 152 disguise, 154 representation of rivalry, 28 Barry, Elizabeth, 22, 49, 63, 64–5 Admeto Berenstadt, Gaetano, 39 identity, 10, 149, 152, 161

284

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-03337-5 - The Rival Sirens: Performance and Identity on Handel’s Operatic Stage Suzanne Aspden Index More information

Index 285

Alessandro, 64 on Cuzzoni and Faustina, 4, 251 contrast, 44 on Faustina, 30 similarity, 143 on Galliard, 66 Astianatte, 65 on Giulio Cesare, 55 balance, 73 on Handel operas, 139 contrast, 72, 132 on Senesino, 243 public perception, 92, 137 balance, 5, 181 Caccini, Giulio, 38 commodiﬁcation, 250 Carey, Henry, 140 contrast, 9, 52–5, 61, 245 The Dragon of Wantley, 258 historiographical, 5–6, 29, 45 character identity, 66–7, 70, 192–3, 202–5, 258–9 caricature, 253 public perception, 24, 43 legibility of, 21, 158 contrast, 62 novel, the, 16 Riccardo primo, 185–6, 190 personal, and theatre, 20–2 ambiguity, 202 theatre balance, 186, 188–93 legibility of, 17–18, 21, 75 contrast, 187 Theophrastan, 7, 18 satirical, 5, 47, 49–50, 68–70 characterisation, 7, 12, 17–19, 72 similarity, 138, 141 action-based, 17, 75–6 singers’ control of, 205, 258 Admeto, 153, 161–71, 173 Siroe, 221 Alessandro, 141–7 Tolomeo, 235 Astianatte and vocal style, 2 Andromaca, 90, 97–8, 100, 102–15 satirical attack on, 218–19 Cuzzoni as, 90, 102 vocal style, 3–4, 29–36, 39, 53, 122, Ermione, 91, 93–6, 129 193, 198 attractiveness of, 141 modo Faustinare, 3–4, 29 contrast novelty of, 4, 29, 32–6, 69, 249 female, 62–6, 73, 138–9, 173 ornamentation, 29–36, 115, 129 male, 165–6 Bracegirdle, Anne, 22, 63 historical change in, 19 Briani, Francesco opera seria, 16, 18, 115 Isacio tiranno, 182, 189, 193, 195 aria, 99, 129 alterations, 183–5 musical variety in, 9, 73 librettist, 179 and performer persona, 6, 24, 106 and Matteo Noris, 182 and theatrical context, 15 Riccardo primo connection, 182 and performer persona, 24 Brillandi, Giovanni Sebastiano, 151, 180 Riccardo primo, 183–6, 188, 194–5 Brown, John, 39 Costanza, 194 Burke, Edmund, 69, 201, 255 Pulcheria, 184–5, 187–8, 196–8, 202 Burney, Charles Riccardo, 187 on Admeto, 33, 40, 148 Rodelinda, 78–84, 86–8 on Alessandro, 243 Cuzzoni as, 88 on Cuzzoni, 38, 39, 54, 61, 74, 86 Siroe, 221–32

286 Index

characterisation (cont.) Handel operas, 153 Tolomeo, 235–7 male, 236 unity of, 12–13, 16–17, 22 symbolism of, 153 Il Vespasiano, 234–5 Dotti, Anna, 95, 152, 179, 185 Cibber, Colley, 22, 43 drama, spoken Cibber, Susannah, 1, 22, 24 heroic, 210, 216 commedia dell’arte, 1, 18 criticism of, 212 consciousness, 7, 247, see also: identity sentimental, 214–16 Hume, David, on, 247 criticism of, 227 Locke, John, on, 247 she-tragedy, 26, 43, 73, 97–8, 239 Contre Temps, or the Rival Queans, The, 47, 68–70, Dryden, John, 18, 210 207–8 Durastanti, Margherita, 40, 61, 141 Corneille, Pierre, 12, 132, 214 cross-dressing, 60, 153, 239 Euripides Cuzzoni, Francesca Alcestis, 151 acting, 38 Andromache, 89, 91 biography, 3, 29, 46, 49, 74, 91, 209, 258 characterisation, 51–2 Farinelli (Carlo Broschi), 20, 29, 40, 213, 243, 249 light-hearted, 52 characterisation, 50 Ottone, 54 and sentiment, 241 Riccardo primo, 183, 193–4 virtuosity, 36 Rodelinda, 75, 79 Faustina. See Bordoni, Faustina sentimental, 50, 53, 54–5, 184, 194 fetish variety in, 55, 72–4 anthropological, 158–9 vocal style, 50, 52, 55 commodity fetishism, 158–9, 251–4 sentimental, 53 Freud, Sigmund, 160–1 Ottone, 49 persona, 52, 61, 91 Galliard, John Ernest, 4, 39, 66 and disguise, 155 Garrick, David, 19 representation of rivalry. See Bordoni, characterisation, 17, 22, 26, 76 Faustina; representation of rivalry impact of, 13, 16, 26, 135 versatility, 245 professionalism, 25, 242 satirical attack on, 253 sentiment and heroism, 217–18, 241–2 vocal style, 3–4, 36–40, 55, 79, 86, 88, 175, 194 Gay, John modo Cuzzoneggiare, 29 The Beggar’s Opera, 1, 138, 205, 258 ornamentation, 106, 250 gesture traditional nature of, 4, 33, 36, 39–40, 69 musical, 78–9, 106, 115 physical, 79, 135, 228, 241–2 Dennis, John, 23, 213 Nicolini, 20 detail, suspicion of, 254 sentimental, 241 and female imitation, 255–6 and the ‘point’, 72, 75–7 see also: point and gender, 255 Rodelinda, 75, 79, 86 Devil to pay at St. James’s, The, 47 Gluck, Christoph Willibald, 40, 241 Diderot, Denis, 26, 76 Goethe, Johann Wolfgang von, 26–7 disguise Goldoni, Carlo, 22, 23, 26, 129 female, 10, 65, 152–3 L’impresario delle Smirne, 138

Index 287

Handel, George Frideric, 42 Corrado, 179 Admeto, 10, 33, 40, 46, 50, 51, 148 disguise, 155 dance, 164 libretto, 186 devices, 148–9, see also: disguise; portrait musical characterisation, 53, 73, miniature 196–202 disguise, 150, 153 plot, 52 libretto, 151, 171–3 politics, 178–9, 182 music and identity, 161–71, 175 structural symbolism, 73, 137, 189, 192–3 portrait miniature, 150, 156–60, 175–7 Rodelinda, 78 reception, 153 alterations, 74 satires on, 218 characterisation, 9, 53, 72, 77–88 score, 161 staging, 75 Senesino in, 209 role in rivalry, 45, 68, 90–1 structural symbolism, 155–6, 173, 175–7 Siroe, 8, 50 theatricality, 175–7 acting in, 242 visual symbolism, 151, 165, 174 composition, 223, 225, 232, 245 aesthetics of composition, 12–13, 85 heroic redundancy, 8, 11, 220–1, 225–7 Alessandro, 8 and infantilisation, 222, 225, 227, 237 composition, 143, 238 and musical control, 232 identity and silence, 224–5, 228–30 comparison, 142–3 and speech, 222 contrast, 44 heroism, 232 masculinity, 238 libretto, 220–3, 232 and song, 239 translation, 227 plot, 51 plot, 52, 221 politics, 64, 143 staging, 150 role in rivalry, 10, 44–5, 91, 141–7 Tamerlano, 53 sleep scene, 237 Tolomeo, 8, 52, 155, 215 dance music, 164 balance, 189, 235 factionalism around, 61–2, see also: rivalry: libretto source, 213 Handel/Bononcini masculinity, 8 Floridante, 156, 236 and disguise, 236 disguise, 236 and echo song, 236, 237 and George II coronation, 178 and identity, 237 Giulio Cesare, 52 and mad scene, 236 historical representation of, 5 role reversal, 235, 237–8 musical silence, 198–202 and sleep scene, 236–7 Ottone, 71, 156 pastoral music, 155 Partenope, 218, 220 plot, 235 Radamisto, 52, 236, 259–61 reception, 235 disguise, 236 Hasse, Johann Adolf, 23, 258 Riccardo primo, 8 and Faustina, 3, 30, 60, 61, 258 1726–27 season, 89, 178 Hawkins, John alterations, 179, 183–90, 195 on Bononcini, 90, 105 explanations for, 10, 179, 181 on Cuzzoni and Faustina, 4, 42, 91 and Astianatte, 180–1 on Senesino, 243

288 Index

Haym, Nicola construction of, 6, 9, 11, 70 Admeto, 151 contrived nature of, 156 Astianatte, 91–2 Cuzzoni and Faustina, 6–8 Calfurnia, 54, 72, 234 disguise, 153 librettos, 9, 51 female Lucio Vero, 234 as actor, 21, 24–7, 134 Lucio Vero (1716), 44 deﬁnition of, 28 Rodelinda, 72, 74, 78, 84–6 and role propriety, 22, 25, 71, 75, 91, 98 role in rivalry, 45 satirical attack on, 49 Royal Academy of Music poet, 46 male, 217 scenic descriptions, 150 mutability of, 151–2 Siroe, 220–3 persona, 6, 15, 19, 22, 63, 70, 136, 195 Il Vespasiano, 52, 55, 73, 234 and portrait miniature, 158 Heidegger, John Jacob, 69 and role suitability, 22–4, 86 heroism, see also: sentimental hero singer, 205–6 anachronism of, 211–12 commodiﬁcation of, 249–51 and castrati, 214 and commodity fetishism, 251–2 and civic humanism, 210–13 satirical attack on, 253–4 male, 7, 11 theatricalisation, 8, 13–14, 15 Hervey, John, Lord, 48, 207 audience, 14 Hill, Aaron, 76–7, 135 performer, 15, 141, 143–9, 177

idealism, 12 Lacan, Jacques, 151 identity on language, 240 female male desire, 160, 170 commodiﬁcation of, 10, 139 masculinity, 239 control of, 26, 70, 139, 261 mirror stage, 141, 150 and masquerade, 154–6 theatrical analogues, 150 and theatre, 98, 138–9, 156 responses to, 240, 257 and detail, 254–6 Lee, Nathaniel fantasy, 261 Alexander the Great or, The Rival Queens, 43, 64, and imitation, 156, 257–8 147 public/private dichotomy, 26, 65–6, 75, 96, 98 libretti self-control, lack of, 26–7 choice, 213 self-repression, 70–1, 74–5, 140, 154, 156 revival, 44, 77, 90 widow, 134 translations, 54 gender, 7, 25, 27–8, 239 Locke, John disguise, 153–4, see also: disguise on language, 240, see also: identity, Locke role reversal, 238 Hume, David, theory of, 7, 8, 247 Maffei, Scipione, 26 individual, 7, 10, 17, 66–7, 140 Mancini, Giambattista, 37, 78 Locke, John, theory of, 7 on Cuzzoni, 36, 38, 40, 106 male, 221, 239 on Cuzzoni and Faustina, 4 performer on Faustina, 31–2, 115 acting style, 26 Marcello, Benedetto, 2–3, 20 Admeto, 175, 177 Martinelli, Vincenzo, 4, 60

Index 289

Marx, Karl role reversal, 238 commodity fetishism, 159 singer hierarchy, 29 Mauro, Ortensio singer identity, 6, 19–20, 22–4, 206 L’Alceste, 151, 157 structural symbolism, 147–8, 174 La superbia d’Alessandro, 141, 147, 171–3 balance, 5, 62, 189 Metastasio, Pietro, 214, 258 rivalry topos, 1 as director, 16 as social ritual, 11, 13 heroism in, 220–1 on passion and reason, 216 persona, 15, see also: identity, performer, Siroe, 220–3 persona Mingotti, Regina, 60, 258 personality, 12, 76 Muratori, Lodovico Antonio, 213, 247, 248 perspective, 149–50 Philips, Ambrose Nicolini (Nicolo Grimaldi), 16, 19–20, 44, 77 The Distrest Mother, 89–91, 94, 96 Nietzsche, Friedrich, 151, 160, 176–7 point, 10, 75–6, 94 North, Roger, 39, 249, 252, 256 dramatic function of, 9, 76–7, 88, 115, novel, eighteenth-century 132, 136 conventions, 180 Garrick’s use of, 242 subject in, 16–17 operatic, 72 and tableau, 135–6, see also: tableau Oldﬁeld, Anne, 21, 91 Pollarolo, Carlo Francesco opera Ariodante, 2–3, 52 aria portrait miniature, 10, 157–8, 180 cantabile, 39 English, 157 dramatic function of, 17–18, 19, 72 portraiture, 19 criticism of, 16 sound/sense dichotomy, 7, 11, 227 Quantz, Johann Joachim gender and music, 241 on Astianatte, 92, 132 opera buffa, 18 on Cuzzoni, 38, 39–40, 52 ope´ra comique, 18, 147 on Cuzzoni and Faustina, 4 opera seria, see also: audience, Royal Academy on Faustina, 29–31, 32, 33 of Music; libretti on Senesino, 243 aria variety, 9 on Tosi, 5 characterisation, 16–18, 19–20 characters Racine, Jean, 91, 98 villains, 180 Andromaque, 89–90, 92–5 conventions Riccoboni, Luigi, 28, 36, 39, 250 listening, 48 Richard I, 181–2 madness, 164 Riva, Giuseppe, 15, 38, 46, 180, 213 ornamentation, 11, see also: voice, rivalry, 61, see also: Bordoni, Faustina, ornamentation representation of rivalry gender roles, 7 drama about, 43 heroism, 213, 243–4 female, 65 music and effeminacy, 213–14 female performer, 1, 43, 61, 63–5, 137 castrato, 214 Handel/Bononcini, 61–2 and neoclassical drama, 210 Robinson, Anastasia, 24, 46, 71, 99

290 Index

Rolli, Paolo, 15, 213 satirical attack on, 11, 60, 68, 154, 207–9, 218–19, Admeto, 140, 151 259 Alessandro, 42, 44, 45, 141, 143 vocal style, 106 and audiences, 180 sentimental hero, 214–15 Griselda, 99 Astianatte, 97–8 librettos, 9, 51 authenticity, 216–18 perfectionism, 179 and authority, 241 poetic style, 180 castrati as, 244 Riccardo primo, 10, 178, 180, 189–90, 192–3 criticism of, 217 alterations, 183–6 English theatre, 216 Royal Academy of Music, 5, 8 Garrick, 241–2 and civic humanism, 211 satirical attacks on, 244 and Duke of Newcastle, 182 sentimental heroine, 97–100 libretti, choice of, 213, 220 Astianatte, 97 and opera seria, 218 The Distrest Mother, 97 politics of, 40–2, 45–7 musical characteristics, 228 opera seria, 98–100, 106 Salle´, Marie, 164 and sentimental hero, 98 Salvi, Antonio Siddons, Sarah, 13, 21, 25, 71, 75 Ariodante, 2–3 Steele, Richard, 19, 89–90, 98, 137 characterisation, 62 Steffani, Agostino Astianatte, 44, 90, 92–4, 99, 110–11, 132 La superbia d’Alessandro, 44, 141–2, 238 connection to Racine, 93, see also: Racine: Swiney, Owen, 16, 46, 194 Andromaque on L’Elpidia, 45 London libretto comparison, 96 on libretto choice, 180, 213, 218 Rodelinda, 73–4, 77, 84–6 on Partenope, 218, 220 scenic types, 64, 102, 173 on rivalry creation, 42, 45, 194 garden, 173–4 on Senesino, 49, 208 mad scenes, 164–5 stabbing, 64, 136–7, 235 tableau, 134–6 Senesino (Francesco Bernardi), 54, 61 Tosi, Pier Francesco, 78 as actor, 242–3 novelty, criticism of, 4, 32, 36, 38–9 biography, 178, 208, 243 Opinioni de’ cantori antichi e moderni, 4, 32, 39, characterisation, 10, 51–2, 97, 180, 50, 52, 66, 138, 245 221, 234 on imitation, 256 comic heroism, 234–5 pathetic style, favour for, 4, 39 Lucio Vero, 141 as singer, 39 Riccardo primo, 183, 186 Siroe, 224–5 Vignati, Giuseppe and Faustina, 218–20 Ambleto, 33 fees, 40 Vinci, Leonardo heroism, 209–10, 214, 216, 218, 243 L’Elipidia, overo li rivali generosi, 43–5, 53 identity, 235 Teuzzone, 52 persona, 208 Vivaldi, Antonio role in rivalry, 10, 42, 49, 68, 208–10 Siroe, 227 jealousy, 208 vocal style, 29, 40 role reversal, 218–20, 238 new, 32–3, 39

Index 291

traditional, 39 and consciousness, 7, 247–8 ornamentation, 32, 38–40 criticism of, 246–9 voice and identity, 11, 246, 248–9 and authority, 239–41 and social disruption, 248–9 linguistic, 239–41 as object, 246 Walpole, Horace, 74, 250 ornamentation, 246 and civic humanism, 248 Zeno, Apostolo, 3, 43, 180, 213