403:). When Adelberto comes to her, she informs him of her scheme to bring this to pass. Her deceased husband had ruled Italy illegally as the country was really a possession of the German King Ottone, who is now on the way to reclaim the territory and to marry Teofane, daughter of the Byzantine emperor, who is already in Rome and has been sent a portrait of her bridegroom-to-be, which has caused her to look forward to her marriage with delight. However Ottone has been delayed in his journey to Rome by an attack on his convoy of ships by pirates, necessitating a battle at sea. Gismonda instructs her son to present himself to Teofane as her bridegroom, and then marry her, pretending to be Ottone. Adelberto thinks this is a very clever plan and Gismonda joyfully anticipates her son's success. (Aria:
26:
598:). He leaves to look for a dwelling where they can take refuge from the storm. Alone with Emireno, Teofane demands respect as the daughter of Romano, King of Byzantium. At this, Emireno attempts to embrace her, and Teofane, as well as Adelberto who returns just as this takes place, misinterpret the action as an attempt at seduction. Adelberto attacks Emireno but the guards seize him. Teofane is distraught and asks the guards to kill her, death will be a release (Aria:
2916:
561:
382:
2937:
2927:
1679:
678:. The music for Matilda, as her mood swings wildly in the course of the action between hatred, anguish and love, is completely different in character from the "gentle and maidenly" music for Teofane. The scheming mother Gismonda is also characterised by Handel's music in the arias for her, bringing out the two sides of her nature - haughty and ruthlessly ambitious, as in the aria
544:). Emireno goes to find the boat Matilda has told him will be waiting, and Matilda herself, then Ottone arrive, Matilda looking for the tunnel and Ottone in search of Teofane. Adelberto and Teofane conceal themselves as Matilda guides Ottone away, telling him it is not safe for him to wander around at night alone. Ottone is more concerned about Teofane than himself (Aria:
623:). Emireno comes in with Adelberto in chains. Ottone orders Adelberto to be executed, but Matilda demands the right to run him through herself. However she cannot bring herself to do it, realising that she still loves him. Gismonda grabs the knife from Matilda and is about to commit suicide, when Teofane rushes in and she and Ottone are joyfully reunited (Duet:
452:), and leaves. Adelberto comes to lead Teofane to their wedding, but his mother reappears with the news that Ottone is invading with an army, thrusts a sword into her son's hand and sends him off to battle. Left alone, Teofane now realises that Adelberto is only pretending to be Ottone, and laments the position in which she finds herself (Aria:
378:. The "Argument" to the opera provides the context of the events that precede the opera. It had been arranged that Ottone would marry Teofane, daughter of Romano, the Eastern Emperor. Basilio, Teofane's brother, had been driven into exile by a usurper. However, Basilio had become a pirate during his exile, and took on the name of Emireno.
181:. She knew that Handel had written much of the music for the opera before he had hired her, and at the first rehearsal with the composer, indicated that she would like him to write a new entrance aria especially for her, to show her unique talents and make a good first impression with the London public. On being asked to replace the aria
116:
505:). Matilda and Gismonda are both distraught at Adelberto's defeat and imprisonment. Matilda thinks they should beg Ottone for mercy, but Gismonda would prefer that she and her son both be put to death rather than thus abase themselves. Matilda says she will not allow that to happen, Adelberto must be freed (Aria:
485:
516:
Matilda in an attempt to console her. Teofane misinterprets this gesture as a sign that Ottone is in love with
Matilda. In any case, the embrace does nothing to cool Matilda; she fulminates against Ottone for his refusal to show clemency to Adelberto, calling on monsters and furies to pursue him (Aria:
548:). Emireno has found the boat and returns, and Adelberto seizes Teofane, who swoons as he carries her into the boat and rows her away, together with Emireno and some of their men. Gismonda joins Matilda in the garden; they celebrate the night that saw the success of their plan to free Adelberto (Duet:
428:). Ottone is now greeted by his enraged cousin Princess Matilda, who was officially engaged to Adelberto and is furious that he now proposes to marry Teofane instead. She informs Ottone that Gismonda and Adelberto are scheming against him. Ottone hopes that Teofane can still be his despite this (Aria:
713:
on 10 August 1722, but revised the opera before its first performance. The opera was a great success in Handel's lifetime, and received revivals in
December 1723, 1726, 1727 and 1733, in some cases with additional music. After the first performances of the initial run, demand for tickets was so great
500:
On his way to prison, Adelberto is encountered by
Matilda, who tells him he should never have accepted being engaged to her if he really loved Teofane instead. They are joined by Gismonda, who reproaches her son for being defeated in battle by Ottone. Adelberto hopes that he will learn fidelity from
410:
Teofane comes to meet, as she believes, her husband-to-be Ottone, and when
Adelberto greets her, pretending to be Ottone, she cannot understand why he looks nothing like the handsome and noble young man she had imagined from the miniature portrait she had been sent and carries with her in a locket.
142:
of an organisation called the Royal
Academy of Music (unconnected with the present day London conservatoire), a company under royal charter to produce Italian operas in London. Handel was not only to compose operas for the company but hire the star singers, supervise the orchestra and musicians, and
717:
Not only the wealthy and aristocratic patrons of the opera were enthusiastic about the performance and the singers: their servants who were in attendance on them were allowed free admission to the gallery and such was their enthusiasm during the opera that a notice was inserted in the London press,
515:
Teofane and Ottone are about to meet face to face for the first time, both looking forward to this, but
Matilda suddenly appears and throws herself at Ottone's feet, begging him for mercy for Adelberto. Teofane withdraws into an alcove and watches as Ottone declines to pardon Adelberto but embraces
193:
Having one day some words with CUZZONI on her refusing to sing Falsa imagine in OTTONE; Oh! Madame, (said he), je sçais bien que Vous êtes une véritable
Diablesse: mais je Vous ferai sçavoir, moi, que je suis Beelzebub le Chéf des Diables (I know that you are a very devil: but I must tell you, I am
752:
As for the reigning amusements of the town, it is entirely music...there is nobody allowed to say "I sing" but an eunuch or an
Italian woman. Everybody is grown now as great a judge of music as they were in your time of poetry, and folks that could not distinguish one tune from another now daily
618:
Matilda tells Ottone that
Adelberto has abducted Teofane. Gismonda is triumphant at her son's actions, but Matilda tells her she will change her tune when she sees her son's head cut from his shoulders. Gismonda retorts by revealing to Ottone that it was due to Matilda that Adelberto managed to
166:, feeling that she could not portray, as he desired, scorn and anger, and appealed in a letter to one of the patrons of the Royal Academy to intervene with Handel to write gentler music for her to suit her abilities. Also in the cast was another internationally renowned castrato,
627:). Teofane explains that she now knows that Emireno is really her brother; Gismonda and Adelberto ask for and receive Ottone's forgiveness and pledge him their loyalty, and Matilda accepts Adelberto's offer of marriage. All celebrate the fortunate turn of events (Chorus:
753:
dispute about the different styles of Handel . People have now forgot Homer, and Virgil, and Caesar, or at least, they have lost their ranks;for, in London and
Westminster, in all polite conversations, Senesino is daily voted to be the greatest man that ever lived.
423:
The true Ottone has arrived to claim his rightful kingdom and his bride, and has defeated the pirate Emireno, who is brought before him in chains. Emireno hints that he is really someone very mighty but refuses to reveal his true identity and is led away. (Aria:
209:, in Dresden in 1719, and with three of the same singers in the same roles, though with newly written music by Handel, they had played in the Lotti work - Senesino, Giuseppe Maria Boschi and Margherita Durastanti repeated their roles from the Lotti opera in
726:
Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen's Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut
643:
place less emphasis on bravura and dazzling virtuosity than in Handel's previous operas and are notable for expressive beauty. Many of the arias and instrumental movements from the piece became concert favourites, according to musical historian
540:). Emireno and Adelberto emerge from the tunnel, pushing the stone aside. They have escaped from prison with the help of a map sent to them by Matilda. Emireno looks forward to freedom and to vanquishing the enemies who have wronged him (Aria:
652:
in three sections, followed by a dance movement. This last section of the overture, according to Burney, became extremely popular all over England and was played on "every imaginable instrument". The aria for Senesino in the role of Ottone,
593:
After a brief orchestral sinfonia, Adelberto, Emireno and Teofane appear with their guards. Their escape has been stalled by a sudden squall that has blown up. Adelberto hopes both for better weather and for Teofane's love (Aria:
665:
as "exquisitely turned...one of his most beguiling melodies". The three star roles for women singers are characterised by Handel with entirely different music. Teofane's music is pure and melting; her entrance aria
731:
18th century musicologist Charles Burney noted that "the number of songs in this opera that became national favourites was perhaps greater than in any other that was ever performed in England" and "the slow air
127:
The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London, where in 1711 he had brought Italian opera for the first time with his opera
1455:
222:
2940:
702:
780:, was the first revival of any Handel opera in the twentieth century. In the UK, the next production after 1734 was given by the Handel Opera Society on 19 October 1971 at
154:, beginning a long and sometimes stormy association with Handel that included creating seventeen leading roles in his operas for London, at a vast salary. The star soprano
1561:
736:, (which Cuzzoni had at first not wished to perform), "the first which Cuzzoni sung in this country, fixed her reputation as an expressive and pathetic singer."
2315:
194:
Beelzebub the Chief of the Devils).; With this he took her up by the waist, and, if she made any more words, swore that he would fling her out of the window.
468:
is played as an onstage battle shows the defeat of Adelberto's army and his capture by Ottone's forces. Adelberto is led away, defiant but in chains (Aria:
138:
created a craze in London for Italian opera seria, a form focused overwhelmingly on solo arias for the star virtuoso singers. In 1719, Handel was appointed
1501:
1592:
1434:
2870:
1617:
2647:
158:, who had sung in many of Handel's early works in Italy as well as his previous operas in London, joined the cast, as did English soprano
198:
Cuzzoni yielded and sang the aria Handel had written with enormous success, including it throughout her career in recitals and concerts.
1552:
2930:
2839:
2981:
2118:
1565:
1612:
2966:
509:). When alone, Gismonda admits to herself that she too feels pity for her son and longs to console him in his distress (Aria:
2976:
2657:
2297:
3001:
2672:
2622:
2612:
1585:
1050:
472:). Alone, Ottone is still hopeful of winning Teofane and the kingdom and ruling in peace, extending justice to all (Aria:
2865:
2792:
2642:
2637:
2602:
2581:
619:
escape. Matilda admits this is true, but she is sorry she helped Adelberto and would now like to kill him herself (Aria:
80:
in London. Handel had assembled a cast of operatic superstars for this season and the opera became an enormous success.
2692:
2687:
2682:
2677:
2667:
2662:
2632:
2617:
2607:
2283:
1371:
1275:
1241:
1160:
1135:
674:
is, according to Lang, one of Handel's greatest arias, and she too is given a "bewitching" siciliana to sing, the aria
448:
in a meeting with Teofane. "Adelaide" haughtily instructs Teofane to give her son her heart as well as her hand (Aria:
2717:
2712:
2707:
2702:
2697:
2627:
2448:
1532:
1060:
808:
presented the opera in London and toured to parts of the UK in the autumn of 2014, and the work was performed at the
785:
520:). When Teofane and Ottone finally meet, she accuses him of falsely pretending he is not in love with another (Aria:
2986:
2652:
2469:
2131:
2919:
2748:
2743:
2738:
2733:
2251:
1633:
1578:
682:
while at the same time feeling immense maternal love and devotion for her son (as for instance in the beautiful
2875:
1300:
792:, like all Handel operas, receives performances at festivals and opera houses today. Among other productions,
2890:
2563:
2290:
2053:
1127:
69:
57:
532:
A delightful garden by the Tiber with springs and caves, and an underground passage closed by a stone. Night
2971:
2542:
2537:
2532:
2494:
2378:
983:
2590:
2577:
2329:
910:
92:
2823:
2813:
3006:
2434:
2322:
891:
1094:
606:). Teofane imagines Ottone in Matilda's arms, but even so, she swears she will love him always (Aria:
2808:
2786:
2476:
2364:
2209:
1713:
781:
2076:
73:
2357:
2276:
2181:
1685:
931:
17:
1480:
2849:
2844:
2508:
2455:
2402:
2022:
1983:
1601:
714:
that they were sold at much more than their face value, in an early example of ticket touting.
49:
29:
2818:
99:, who became the wife of Otto II in a state marriage intended to form an alliance between the
2417:
2412:
2385:
2350:
2336:
1549:
936:
805:
315:
299:
155:
53:
25:
2961:
2573:
2343:
2004:
1997:
8:
2596:
2202:
2195:
1678:
801:
150:, Handel assembled a cast of star singers including the internationally famous castrato,
2996:
2765:
1783:
1720:
956:
809:
349:
331:
294:
167:
159:
77:
2900:
432:). Matilda, alone, yearns for revenge against Adelberto for his jilting of her (Aria:
2880:
2501:
2244:
2188:
1937:
1916:
1874:
1769:
1666:
1528:
1502:"Ottone de Haendel au Festival de Beaune - Autant en emporte le chant - Compte-rendu"
1367:
1296:
1271:
1237:
1156:
1131:
1056:
797:
445:
371:
281:
178:
104:
84:
2515:
2441:
2258:
2237:
2230:
2146:
2125:
2097:
2090:
2036:
1965:
1923:
1902:
1867:
1818:
1706:
1185:
886:
444:
Since her son Adelberto is now posing as Ottone, Gismonda poses as Ottone's mother
100:
88:
2991:
2779:
2462:
2407:
2223:
2216:
2174:
2167:
2159:
2141:
2111:
2083:
2069:
1860:
1853:
1673:
1659:
1644:
1556:
919:
662:
649:
186:
130:
115:
2895:
162:, who was unhappy about much of the music Handel had written for her to sing in
2772:
2136:
2029:
1797:
963:
741:
645:
399:
Gismonda's dream is to see her son Adelberto on the throne of Italy. (Arioso:
2955:
2371:
2104:
1951:
1839:
1755:
1727:
1699:
978:
968:
748:
that no one in London was interested in any other form of art or literature:
139:
61:
1387:
1189:
83:
The story of the opera is a fictionalisation of some events in the lives of
2885:
1990:
1832:
1317:
Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728
1293:
All Music Guide to Classical Music: The Definitive Guide to Classical Music
769:
690:
381:
777:
2558:
2152:
1570:
876:
869:
524:) and, once on his own, Ottone prays that this storm will subside (Aria:
72:'s fourth season and had its first performance on 12 January 1723 at the
1539:
The first of the two volume definitive reference on the operas of Handel
1364:
A General History of Music, from the Earliest Ages to the Present Period
1337:
484:
1734:
689:
The opera is scored for recorder, two oboes, two bassoons, strings and
488:
A caricature of Margherita Durastanti,who created the role of Gismonda
411:
Left alone, she accuses the portrait of cruelly misleading her (Aria:
1930:
1888:
1825:
1762:
761:
671:
658:
560:
536:
Teofane walks dejectedly in the garden, feeling utterly alone (Aria:
344:
96:
1412:
577:). Gismonda comes to him and gloats that her son has escaped (Aria:
221:
1776:
1638:
1039:
Dean, W. & J.M. Knapp (1995) Handel's operas 1704-1726, p. 298.
737:
705:
Caricature of Gaetano Berenstadt, who created the role of Adelberto
465:
262:
257:
151:
776:
in the 1720s. The next production in Germany, on 5 July 1921 in
764:
appeared, in the role of Adelberto, in December 1734. In Germany,
1909:
1846:
1811:
773:
375:
276:
1958:
1895:
1881:
1790:
1748:
1652:
2936:
1944:
1804:
1692:
701:
146:
For the fourth season in 1723, for which his first opera was
45:
602:). Emireno tells her she has no reason to be afraid (Aria:
254:
170:, in the first of three roles he created in Handel operas.
581:). Ottone feels betrayed and abandoned by everyone (Aria:
185:
with a new one, Handel, according to his first biographer
177:, in addition to Senesino, was celebrated Italian soprano
41:
1176:
Rogers, Francis (1943). "Handel and Five Prima Donnas".
1439:/English Touring Opera, Hackney Empire - opera review"
1052:
Essays on Handel and Italian opera by Reinhard Strohm
1022:(1723): A Textual and Musical Study" (August 1997).
744:
that such was the craze for Italian opera created by
419:
Tents along the shore of the sea with ships at anchor
784:. With the revival of interest in Baroque music and
696:
573:
Ottone is desolate that Teofane has vanished (Aria:
2316:
Agrippina condotta a morire or Dunque sarĂ pur vero
564:
Anastasia Robinson, who created the role of Matilda
1227:
1225:
760:also is notable as the only Handel opera in which
225:Francesca Cuzzoni, who created the role of Teofane
1464:, English Touring Opera, Hackney Empire - review"
2953:
492:A brief orchestral sinfonia introduces the act.
143:adapt operas from Italy for London performance.
1222:
370:The opera is based on events from the lives of
290:a pirate, real name Basilio, brother of Teofane
68:. It was the first new opera written for the
1586:
52:, to an Italian–language libretto adapted by
1494:
1130:. Cambridge University Press. p. 143.
1600:
1593:
1579:
1413:"Handel 'Ottone' in Vienna, November 2010"
1270:(2011 ed.). Dover. pp. 179–180.
709:Handel had completed the first version of
501:Matilda's example, and is led away (Aria:
1566:International Music Score Library Project
1522:
1380:
1117:
1115:
786:historically informed musical performance
661:in 12/8 time, is praised by musicologist
1523:Dean, Winton; Knapp, J. Merrill (1987).
700:
559:
483:
385:Senesino, who created the role of Ottone
380:
340:cousin of Ottone, betrothed to Adelberto
220:
114:
24:
1261:
1259:
1257:
1255:
1253:
1231:
1121:
1089:
1087:
1085:
1083:
1081:
1079:
2954:
2119:L'Allegro, il Penseroso ed il Moderato
1361:
1355:
1203:
1201:
1199:
1175:
1112:
1048:
201:Handel had seen Antonio Lotti's opera
2055:Il trionfo del Tempo e del Disinganno
1574:
1290:
740:complained in a letter to his friend
250:King of Germany, in love with Teofane
231:Roles, voice types, and premiere cast
2926:
1388:"Handel:A Biographical Introduction"
1265:
1250:
1150:
1144:
1076:
2793:Keyboard suite in D minor (HWV 437)
2059:Il trionfo del Tempo e della VeritĂ
1196:
634:
308:widow of Berengario, ruler of Italy
13:
2284:Ode for the Birthday of Queen Anne
119:The King's Theatre, London, where
91:(called "Gismonda" in the opera),
14:
3018:
2449:Funeral Anthem for Queen Caroline
1543:
1124:The Cambridge Companion to Handel
1049:Strohm, Reinhard (20 June 1985).
697:Reception and performance history
272:daughter of the Byzantine Emperor
2982:Operas by George Frideric Handel
2935:
2925:
2915:
2914:
2470:Wedding anthem for Princess Anne
1677:
1319:by C. Steven LaRue (May 1996).
440:Throne room of Gismonda's palace
1473:
1448:
1427:
1405:
1330:
1309:
1295:. Backbeat Books. p. 548.
1284:
1153:The Grove book of Opera Singers
905:St Jude-on-the-Hill, Hampstead,
589:A wood with a view of the Tiber
511:Vieni, o figlio, e mi consola).
243:Premiere Cast, 12 January 1723
2967:Operas set in the 10th century
2891:Handel & Hendrix in London
1169:
1042:
1033:
1008:
395:A gallery adorned with statues
1:
2564:Music for the Royal Fireworks
2063:The Triumph of Time and Truth
1128:Cambridge Companions to Music
996:
815:
401:Pur chi regni il figlio amato
110:
95:, and the Byzantine Princess
70:Royal Academy of Music (1719)
58:Stefano Benedetto Pallavicino
2977:Holy Roman Empire in fiction
2495:Utrecht Te Deum and Jubilate
2379:Tra le fiamme (Il consiglio)
1634:Handel's lost Hamburg operas
1014:McLauchlan, Fiona, "Lotti's
693:(cello, lute, harpsichord).
629:Faccia ritorno l’antica pace
596:D’innanlzar i flutti al ciel
7:
3002:Otto II, Holy Roman Emperor
1338:"Handel Reference Database"
1236:. Oxford University Press.
1155:. Oxford University Press.
518:All’orror d’un duolo eterno
357:
10:
3023:
1525:Handel's Operas, 1704-1726
1508:(in French). 13 July 2017.
892:Freiburger Barockorchester
648:. The opera begins with a
205:, to the same libretto as
40:("Otto, King of Germany",
15:
2909:
2858:
2832:
2809:Handel Reference Database
2801:
2787:The Harmonious Blacksmith
2757:
2726:
2572:
2551:
2525:
2486:
2477:Foundling Hospital Anthem
2426:
2395:
2365:O lucenti, o sereni occhi
2307:
2298:Ode For St. Cecilia's Day
2268:
2046:
2014:
1975:
1626:
1608:
1491:(London), 20 October 2014
1470:(London), 20 October 2014
1445:(London), 20 October 2014
1266:Lang, Paul Henry (1966).
1234:Handel (Master Musicians)
768:was staged in Brunswick (
542:Le profonde vie dell’onde
123:had its first performance
2824:Hallische Händel-Ausgabe
2814:Händel-Werke-Verzeichnis
2802:Catalogs and collections
1362:Burney, Charles (1957).
1315:Dean, Winton, Review of
1291:Chris, Woodstra (2005).
1232:Burrows, Donald (2012).
1207:Dean, Winton, "Handel's
1122:Burrows, Donald (1998).
951:Villa San Fermo, Lonigo,
670:, with its "fine" cello
575:Dove sei, dolce mia vita
555:
522:Alla fama, dimmi il vero
503:Lascia, che nel suo viso
479:
389:
363:Place: Rome and environs
216:
134:. A tremendous success,
2987:Italian-language operas
2323:Allor ch'io dissi addio
2277:Aci, Galatea e Polifemo
2182:Joseph and his Brethren
1268:George Frederick Handel
604:No, non temere, o bella
496:A hallway in the palace
474:Dell’onda ai fieri moti
426:Del minacciar del vento
18:Ottone (disambiguation)
2749:Concerti grossi, Op. 6
2744:Concerti grossi, Op. 3
2739:Organ concertos, Op. 7
2734:Organ concertos, Op. 4
2509:Queen Caroline Te Deum
2252:The Choice of Hercules
1602:George Frideric Handel
862:Stadthalle, Göttingen,
782:Sadler's Wells Theatre
755:
729:
706:
655:Ritorna, o dolce amore
565:
489:
430:Ritorna, o dolce amore
386:
226:
196:
124:
50:George Frideric Handel
37:Ottone, re di Germania
32:
30:George Frideric Handel
2337:Clori, Tirsi e Fileno
1190:10.1093/mq/XXIX.2.214
1178:The Musical Quarterly
806:English Touring Opera
796:was performed by the
750:
724:
704:
608:Gode l’alma consolata
600:Benchè mi sia crudele
563:
487:
384:
316:Margherita Durastanti
300:Giuseppe Maria Boschi
265:(Francesco Bernardi)
224:
191:
156:Margherita Durastanti
118:
56:from the libretto by
54:Nicola Francesco Haym
28:
2871:Letters and writings
2344:Dalla guerra amorosa
2005:Va tacito e nascosto
1998:Svegliatevi nel core
1618:List of compositions
1415:. The King's Consort
1219:(1544): pp. 955-958.
1151:Macy, Laura (2008).
1018:(1719) and Handel's
614:A room in the palace
569:A room in the palace
366:Time: Around 970 AD
189:, flew into a rage:
16:For other uses, see
2972:Operas set in Italy
2866:British citizenship
2819:Händel-Gesellschaft
2543:Oboe Concerto No. 2
2538:Oboe Concerto No. 1
2533:Oboe Concerto No. 3
2203:Occasional Oratorio
1984:Lascia ch'io pianga
1527:. Clarendon Press.
1321:Music & Letters
1024:Music & Letters
988:CD: Decca Classics,
898:Cat: HMU907073.75
896:CD: Harmonia Mundi,
827:
802:Theater an der Wien
722:on 26 January 1723:
676:Affanni del pensier
454:Affanni del pensier
233:
2396:Latin church music
2386:Un'alma innamorata
2351:Del bell'idolo mio
2330:Aure soavi e lieti
1555:2010-05-09 at the
1433:Barry Millington,
975:Anna Starushkevych
957:Max Emanuel Cencic
937:The King's Consort
820:
810:Festival de Beaune
718:as printed in the
707:
566:
490:
470:Tu puoi straziarmi
387:
350:Anastasia Robinson
332:Gaetano Berenstadt
229:
227:
173:New to London for
168:Gaetano Berenstadt
160:Anastasia Robinson
125:
33:
3007:Works set in Rome
2949:
2948:
2881:Handel at Cannons
2552:Orchestral suites
2502:Dettingen Te Deum
2435:As Pants the Hart
2291:Alexander's Feast
1938:Alessandro Severo
1875:Parnasso in festa
1479:Edward Bhesania,
1342:Ichriss.ccarh.org
1327:(2): pp. 272-275.
1213:The Musical Times
1211:(October 1971).
1099:handelhendrix.org
1030:(3): pp. 349-390.
994:
993:
953:June 22 to July 2
788:since the 1960s,
625:A’ teneri affetti
372:Adalbert of Italy
355:
354:
282:Francesca Cuzzoni
179:Francesca Cuzzoni
105:Holy Roman Empire
85:Adalbert of Italy
3014:
2939:
2929:
2928:
2918:
2917:
2859:Related articles
2516:Chandos Jubilate
2442:Zadok the Priest
2269:Odes and masques
2210:Judas Maccabaeus
2015:Incidental music
1868:Arianna in Creta
1819:Lotario (Handel)
1714:Acis and Galatea
1707:Amadigi di Gaula
1681:
1595:
1588:
1581:
1572:
1571:
1564:: Scores at the
1550:Italian libretto
1538:
1510:
1509:
1498:
1492:
1477:
1471:
1458:Life on the Moon
1454:Michael Church,
1452:
1446:
1443:Evening Standard
1431:
1425:
1424:
1422:
1420:
1409:
1403:
1402:
1400:
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1378:
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1040:
1037:
1031:
1012:
961:Lauren Snouffer,
944:Cat: CDS44511/3
928:
927:Catherine Denley
915:Claron Mcfadden,
887:Nicholas McGegan
828:
826:
819:
635:Musical features
538:S’io dir potessi
434:Diresti poi così
234:
232:
228:
101:Byzantine Empire
89:Willa of Tuscany
3022:
3021:
3017:
3016:
3015:
3013:
3012:
3011:
2952:
2951:
2950:
2945:
2905:
2901:Händel-Jahrbuch
2854:
2828:
2797:
2753:
2722:
2568:
2547:
2521:
2482:
2463:Chandos Anthems
2422:
2391:
2303:
2264:
2224:Alexander Balus
2160:Scratch Messiah
2112:Israel in Egypt
2077:Brockes Passion
2070:La resurrezione
2042:
2010:
1971:
1622:
1604:
1599:
1557:Wayback Machine
1546:
1535:
1514:
1513:
1500:
1499:
1495:
1478:
1474:
1468:The Independent
1453:
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1138:
1120:
1113:
1103:
1101:
1093:
1092:
1077:
1067:
1065:
1063:
1055:. CUP Archive.
1047:
1043:
1038:
1034:
1013:
1009:
999:
990:Cat: 483 1814
989:
982:
974:
972:
967:
962:
960:
952:
950:
943:
939:
935:
926:
925:
924:Michael George,
923:
920:Dominique Visse
918:
917:Jennifer Smith,
916:
914:
907:Jan 27 to Feb 3
906:
904:
897:
890:
883:Patricia Spence
882:
880:
875:
874:Juliana Gondek,
873:
868:
863:
861:
852:
850:
845:
843:
841:
839:
837:
835:
821:
818:
699:
684:Vieni, o figlio
663:Paul Henry Lang
650:French overture
637:
558:
482:
392:
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230:
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187:John Mainwaring
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2561:
2555:
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2529:
2527:
2526:Oboe concertos
2523:
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2519:
2512:
2505:
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2490:
2488:
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2358:Apollo e Dafne
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2033:
2026:
2018:
2016:
2012:
2011:
2009:
2008:
2001:
1994:
1987:
1979:
1977:
1976:Opera excerpts
1973:
1972:
1970:
1969:
1962:
1955:
1948:
1941:
1934:
1927:
1920:
1913:
1906:
1899:
1892:
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1878:
1871:
1864:
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1850:
1843:
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1808:
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1798:Riccardo Primo
1794:
1787:
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1696:
1689:
1686:Il pastor fido
1682:
1670:
1663:
1656:
1649:
1630:
1628:
1624:
1623:
1621:
1620:
1615:
1613:List of operas
1609:
1606:
1605:
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1590:
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1559:
1545:
1544:External links
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1511:
1506:Concertclassic
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1404:
1379:
1373:978-0486222820
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1301:
1283:
1277:978-0486292274
1276:
1249:
1243:978-0199737369
1242:
1221:
1195:
1184:(2): 214–224.
1168:
1162:978-0195337655
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1137:978-0521456135
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1075:
1061:
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991:
986:
976:
973:Pavel Kudinov,
964:Ann Hallenberg
954:
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884:
865:
857:
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832:
817:
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798:King's Consort
742:Jonathan Swift
698:
695:
680:Giunt'in porto
646:Charles Burney
636:
633:
621:Nel suo sangue
579:Trema, tiranno
557:
554:
507:Ah! Tu non sai
481:
478:
450:Pensa ad amare
405:Giunt'in porto
391:
388:
368:
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328:alto castrato
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140:music director
112:
109:
74:King's Theatre
9:
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4:
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3019:
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2456:Sing Unto God
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2403:Dixit Dominus
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2372:Ero e Leandro
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2156:(Mozart arr.)
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1728:Muzio Scevola
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984:Il Pomo d'Oro
980:
979:George Petrou
977:
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969:Xavier Sabata
965:
958:
955:
949:2016, studio:
948:
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930:
921:
912:
909:
903:1993, studio:
902:
901:
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881:Michael Dean,
878:
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860:1992, studio:
859:
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720:Daily Courant
715:
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694:
692:
687:
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677:
673:
669:
668:Falsa imagine
664:
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642:
639:The arias in
632:
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2896:Georg Händel
2886:Handel House
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2418:Salve Regina
2413:Nisi Dominus
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1991:Ombra mai fu
1964:
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1407:
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1341:
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1051:
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1027:
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1019:
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1001:
1000:
942:CD:Hyperion,
911:James Bowman
867:Drew Minter,
822:
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770:Braunschweig
765:
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82:
65:
36:
35:
34:
22:
2962:1723 operas
2597:Fitzwilliam
2559:Water Music
2153:Der Messias
1397:28 December
1104:28 December
932:Robert King
877:Ralf Popken
870:Lisa Saffer
825:discography
322:Adelberto,
240:Voice type
2956:Categories
2196:Belshazzar
1784:Alessandro
1735:Floridante
1347:23 October
1302:0879308656
1068:2 February
997:References
849:Conductor,
842:Adelberto,
816:Recordings
550:Notte cara
306:Gismonda,
111:Background
44:15) is an
2997:Theophanu
2840:Göttingen
2833:Festivals
2766:Germanico
2487:Canticles
2132:Structure
2047:Oratorios
1931:Faramondo
1889:Ariodante
1826:Partenope
1770:Rodelinda
1763:Tamerlano
1721:Radamisto
1667:Agrippina
1489:The Stage
1366:. Dover.
864:June 9-12
851:orchestra
840:Gismonda,
812:in 2017.
804:in 2010.
778:Göttingen
762:Farinelli
672:obbligato
659:siciliana
345:contralto
338:Matilda,
288:Emireno,
270:Teofane,
97:Theophanu
78:Haymarket
64:'s opera
2920:Category
2308:Cantatas
2245:Theodora
2189:Hercules
2147:Part III
1966:Deidamia
1924:Berenice
1917:Giustino
1903:Atalanta
1777:Scipione
1639:Florindo
1553:Archived
1095:"Ottone"
846:Matilda
844:Emireno,
838:Teofane,
738:John Gay
691:continuo
466:sinfonia
446:Adelaide
358:Synopsis
312:soprano
263:Senesino
258:castrato
248:Ottone,
152:Senesino
103:and the
2931:Commons
2584:sonatas
2582:XV solo
2427:Anthems
2259:Jephtha
2238:Solomon
2231:Susanna
2142:Part II
2126:Messiah
2098:Athalia
2091:Deborah
2037:Alceste
1910:Arminio
1861:Orlando
1847:Sosarme
1812:Tolomeo
1674:Rinaldo
1660:Rodrigo
1517:Sources
1419:13 June
1016:Teofane
836:Ottone,
823:Rodrigo
800:at the
774:Hamburg
376:Otto II
324:her son
277:soprano
203:Teofane
136:Rinaldo
131:Rinaldo
93:Otto II
66:Teofane
2992:Operas
2850:London
2780:Gideon
2408:Gloria
2217:Joshua
2175:Semele
2168:Samson
2137:Part I
2084:Esther
1959:Imeneo
1896:Alcina
1882:Oreste
1854:Catone
1791:Admeto
1749:Flavio
1742:Ottone
1653:Almira
1645:Daphne
1627:Operas
1562:Ottone
1531:
1483:Ottone
1462:Ottone
1437:Ottone
1370:
1299:
1274:
1240:
1209:Ottone
1159:
1134:
1059:
1020:Ottone
855:Label
794:Ottone
790:Ottone
772:) and
766:Ottone
758:Ottone
746:Ottone
711:Ottone
641:Ottone
211:Ottone
207:Ottone
175:Ottone
164:Ottone
148:Ottone
121:Ottone
2941:Audio
2845:Halle
2773:Nabal
2758:Other
2574:Flute
2030:Comus
1945:Serse
1805:Siroe
1700:Silla
1693:Teseo
1002:Notes
834:Cast:
831:date
556:Act 3
480:Act 2
390:Act 1
237:Role
217:Roles
46:opera
2876:Will
2727:Opus
2663:367b
2658:367a
2643:364b
2638:364a
2633:363b
2628:363a
2608:359b
2603:359a
2580:and
2578:solo
2105:Saul
1840:Ezio
1833:Poro
1529:ISBN
1460:and
1421:2014
1399:2016
1368:ISBN
1349:2014
1297:ISBN
1272:ISBN
1238:ISBN
1182:XXIX
1157:ISBN
1132:ISBN
1106:2016
1070:2013
1057:ISBN
657:, a
374:and
295:bass
255:alto
60:for
2718:379
2713:378
2708:376
2703:375
2698:374
2693:373
2688:372
2683:371
2678:370
2673:369
2668:368
2653:366
2648:365
2623:362
2618:361
2613:360
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
