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Almira

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he knows has influence with Almira, to speak to her on his behalf. The king of Mauretania, Raymondo, disguising himself as the "ambassador" from Mauretania, makes an appearance at Almira's court and tries to win her love. Almira is not interested, being still in love with her secretary Fernando, although she has never told him so. She goes to him to confess her devotion, but Osman appears and, desiring Almira not for herself but the status he would gain as her husband, is about to stab Fernando when Almira grabs the dagger from him. Edilia gets wind of the fact that her sweetheart Osman is now keen to marry Almira and throws a jealous fit. A servant of Fernando, called Tabarco, comes across correspondence from these various people in these love tangles, and opens and reads all their letters.
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one son, a rather feckless army officer called Osman, it would seem her father wished her to marry him. This is unwelcome news to Almira as she is desperately in love with her private secretary, a young man of unknown parentage named Fernando. Osman is not unhappy to be elevated to royal status in this way, but he too is already in love with someone else, the Princess Edilia. At an elaborate court entertainment, Almira mistakenly believes that her beloved Fernando is flirting with Edilia and becomes consumed with jealousy. The restless and jaded Osman attends another brilliant festivity given by Princess Bellante.
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hands a goodbye letter and a family heirloom, a ruby, from Fernando to Almira, and when Consalvo sees the ruby he realises that Fernando is his long lost son. Now Almira can marry Fernando and still fulfill her father's dying wish, Bellante will marry Osman and Edilia will accept Raymondo after all. All celebrate the fortunate outcome of events.
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in honour of Raymondo, Fernando, Osman and Consalvo allegorically impersonate Europe, Asia and Africa. Raymondo now tries to woo Edilia, but she is still in love with Osman. Princess Bellante once again rebuffs the unwelcome attentions of Consalvo. In fact Bellante is now smitten with Osman. Tabarco
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Princess Bellante has fallen in love with Osman, but Osman's father, Consalvo, is amorously pursuing Bellante, which she finds annoying and tries to put a stop to. Osman, although in love with Edilia, thinks it will be grand to be a royal personage, so is keen to marry Almira, and asks Fernando, whom
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Princess Almira has inherited the throne from her father and the opera opens with her coronation. The new queen is disconcerted when her guardian Consalvo claims that her father entrusted him with his dying wish, namely that Almira should marry someone from "Consalvo's house" and since he only has
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From the first page of the overture, it just overflows with genius and invention. You can't believe that an overture of this brilliance could have been written as Handel's first attempt, because most composers never achieve this level of invention after a whole
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is a mix of spectacle, as in the opening coronation scene and the masque in the third act, dance, comedy and drama. Paul O'Dette, artistic co-director of the
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although it has no spoken dialogue – was premiered on 8 January 1705, after being composed in the months directly preceding this.
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was a resounding success. The opera was performed twenty times in total until its place was taken by Handel's next opera,
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The recording can be found in Volume Six of the series, "Liszt at the Opera I," catalogue number CDA66371/2.
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The opera is scored for two traversos, two oboes, bassoon, three trumpets, timpani, strings and
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David Brown (1993). Holden, Amanda; Kenyon, Nicholas; Walsh, Stephen (eds.).
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is presented by opera houses and festivals today. Among other performances,
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Baker, James M., ed. Kenneth Hamilton, "A survey of the late piano works,"
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Der in Krohnen erlangte Glücks-Wechsel, oder: Almira, Königin von Castilien
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The first of the two-volume definitive reference on the operas of Handel.
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As with all of Handel's operas, after going unperformed for many years,
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is the sole example among Handel's many operas with no role for a
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from the opening act of this opera for his English piano student
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In 1732 the piece was once more performed in a version edited by
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was staged by operamission in New York City in 2012 and by the
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piece from his late period, this work is said to anticipate
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took place on 23 February 1985, Handel's 300th birthday, at
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in the summer of 1703 and played as a violinist in the
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This article is about the opera. For other uses, see
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Agrippina condotta a morire or Dunque sarĂ  pur vero
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Sämtliche 53 Bühnenwerke des Georg Friedrich Händel
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Index

Almira (disambiguation)
Opera
George Frideric Handel

Friedrich Christian Feustking
Oper am Gänsemarkt
HWV
Handel
opera
Georg Friedrich Händel
Hamburg
theatre at the Gänsemarkt
Singspiel
libretto
Venice
Friedrich Christian Feustking
castrato

Nero
Leipzig
Boston Early Music Festival
Voice type
soprano
bass
Gottfried GrĂĽnewald
tenor
Johann Mattheson
Valladolid
masque
Boston Early Music Festival

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