Usuario:Nesdran/Operas Handel
Las operas de George Frideric Handel comprende 42 dramas musicales compuestos entre 1705 y 1741 en varios generos. He began composing operas in Germany and then for a brief time in Italia to modest success. It wasn't until he came to England that he truly found great success in the genre. His first opera in England, Rinaldo (1711), was met with enthusiasm, and several more Italian operas soon followed. However, Handel's place as the central figure of opera in England during the eighteenth century was not solidified until, under the influence of Thomas Arne, he began composing large-scale works with English language texts. Though almost all of his English language works are technically oratorios and not operas, several of them, such as Semele (1743), have become an important part of the opera repertoire.
During the 36 years in which Italian opera was his principal concern, Handel adhered closely to the typical form of the era, determined by the precedence given to solo singing and to stage presentation in which set changes were made in front of the audience and the curtain not lowered until the work's conclusion. Recitatives preceded solo arias, usually in da capo form (though frequently with an abridged return to the chief section), dominate the operas, and scenes are normally devised to start with several characters on stage, each of whom sings an aria and then exits. The last scene typically concludes with a coro sung by the soloists; ensembles are otherwise atypical and mainly limited to scenes of communal celebration; only "Dall’orror" in Act 3 of Alcina (1735) reaches the depth of the choruses in the English choral works. Handel’s operas therefore seem to be highly similar to those of his contemporaries; what makes them unique is the brilliance of the music which skillfully conveys with instant fervor the emotional states of the characters within the context of the drama.
Introducción editar
Handel's earlier operas tended to be of a lighter nature, although there are intermittent moments, such as the prison scene from Almira (1705), which are highly dramatic. Handel's music for his first operas in England was often derived from musical ideas and idioms found in his cantatas and other works written during his time spent in Italia (1706–09). For example, the characteristic harmonic structure of Agrippina (1709) is obviously a retention of material from this Italian period. In general, the orchestrations of Handel's earlier operas tended to be richer and smoother than in his later works, utilizing additional instruments like bassoons to achieve different tone colours. The music for Rinaldo (1711) notably utilizes four trumpets, an instrumental choice that Handel never repeated elsewhere.
Comenzando con Radamisto (1720), Handel compuso bastantes operas para la Royal Academy of Music entre 1720 y 1728. Con la excepción de Flavio (1723), las operas de este periodo tienen un tono serio, y la expresión musical, muy austera, en la linea de las primeras operas suyas. De particular importancia en este periodo, Julio Cesar(1724) contiene una de las partituras mas poderosas, expansivas y emotivas no solo del Sajón, si no de la opera en si, siendo considerada la cumbre del genero en la época barroca y del subgénero de la opera seria. Su música suntuosa y las grandes caracterizaciones de sus personajes hicieron de este titulo uno de los mas famosos y una de las primeras operas en poner en escena en el siglo XX con el renacimiento de las operas del Sajón. Otros títulos que tienen singular importancia en este periodo son Ottone, Tarmelano, Rodelinda, Admeto y Tolomeo. Tanto en Tarmelano y Rodelinda tienen la particularidad de que un tenor tiene el papel principal de Héroe, escrito especialmente para el tenor Francesco Borosini. Las ultimas operas de este periodo, de 1726 hasta 1728, están escritas en un clima de competitividad entre dos celebres sopranos de su tiempo,Francesca Cuzzoni y Faustina Bordoni, repartiendo números y protagonismo iguales para las primas donnas.
During the 1730s, Handel returned to writing operas of a comic and fantastic or heroic nature, largely because he no longer had to cater to the tastes of the Academy when choosing librettos. These works, such as Partenope (1730), Orlando (1733) and Alcina (1735), were influenced by the operas of Leonardo Vinci and Leonardo Leo and are written in a pre-classical manner. During this period, Handel began to more frequently utilize the scena in his works, and by the mid-1730s he was writing some of his most dramatically moving arias, such as the mad scene of Orlando and the end of Act 2 of Alcina. The size of the orchestras for these works was also larger, with Handel typically employing 12 violins, 8 violas, 6 cellos, 4 double basses, and two harpsichords in addition to four bassoons and a number of other wind instruments. In operas like Oreste (1734), Handel attempted to synthesize Italian opera with French opera in the sequences of dances and choruses , but made no further experimentation in this area outside of the operas of 1734 and 1735. Two of the operas from this period, Ariodante (1735) and Atalanta (1736), were a departure from the traditionally heroic librettos used by Handel, adopting a more realistic romantic intimacy.
By the late 1730s, Handel's attention was increasingly diverted away from composing operas and was much more focused on the English oratorio. A number of his operas from 1737 on lack the brilliance of his eariler works, most likely due to this shift in focus. Nevertheless, his operas Giustino (1737) and Serse (1738) contain some very fine music. Serse is also notable for successfully mixing comedy and poignant tragedy into a masterfully crafted plot, a development repeated less successfully in Imeneo (1740). Handel's last Italian opera, Deidamia, was produced in 1741 and was not received very well as England's taste for Italian opera had waned. Handel returned one more time to theatre music for the semi-opera Alceste in 1750.
Las Operas editar
The following is a complete list of Handel's operatic works. All are opera seria in three acts, unless otherwise stated.
| HWV | Titulo | Libreto | Fecha de estreno | Lugar de estreno | Revival moderno | class="unsortable"|Notas |
|---|---|---|---|---|---|---|
| 1 | Almira (Der in Krohnen erlangte Glücks-Wechsel, oder: Alimira, Königin von Castilien) | Friedrich Christian Feustking, after Giulio Pancieri | 8 de Enero de 1705 | Hamburgo, Theater am Gänsemarkt | 4 de Junio de 1994, Halleschen Händelfestspiele, Bad Lauchstädt | 'Definido como un Singspiel, pero no tiene dialogo habado |
| 2 | Nero (Die durch Blut und Mord erlangete Liebe) | Plantilla:HsFriedrich Christian Feustking | Plantilla:Hs25 February 1705 | Hamburg, Theater am Gänsemarkt | Music lost | |
| 3 | Florindo (Der beglückte Florindo) | Plantilla:HsHinrich Hinsch | Plantilla:HsJanuary 1708 | Hamburg, Theater am Gänsemarkt | Almost all of the music is lost | |
| 4 | Daphne (Die verwandelte Daphne) | Plantilla:HsHinrich Hinsch | Plantilla:HsJanuary 1708 | Hamburg, Theater am Gänsemarkt | A sequel to Florindo, intended to be performed on the day after it. Almost all of the music is lost | |
| 5 | Rodrigo (Vincer se stesso è la maggior vittoria) | Plantilla:HsAfter Francesco Silvani's II duello d'Amore e di Vendetta Italian libretto |
Plantilla:Hsc, November 1707 | Florence, Teatro di via del Cocomero | Plantilla:Hs1984, Innsbruck | Some music is lost |
| 6 | Agrippina | Plantilla:HsVincenzo Grimani | Plantilla:Hs26 December 1709 / early 1710 | Venice, Teatro San Giovanni Grisostomo | Plantilla:Hs1943, Halle | |
| 7a/b | Rinaldo | Plantilla:HsGiacomo Rossi/Aaron Hill, after Tasso, La Gerusalemme liberata, Italian libretto |
Plantilla:Hs24 February 1711 | London, Queen's Theatre | Plantilla:HsJune 1954, Halle | HWV 7b is the 1731 revision; the libretto of a revision of 1717 also exists |
| 8a/b/c | Plantilla:HsIl pastor fido | Plantilla:HsGiacomo Rossi, after Giovanni Battista Guarini 8b Italian libretto, 8c Italian libretto |
Plantilla:Hs22 November 1712 | London, Queen's Theatre | Plantilla:Hs20 June 1948, Gotinga (third, November 1734 version); 14 September 1971, Abingdon, (first, 1712 version) | HWV 8b/c are the revivals of May and November 1734 |
| 9 | Teseo | Plantilla:HsNicola Francesco Haym, after Philippe Quinault's libretto for Thésée Italian libretto |
Plantilla:Hs10 January 1713 | London, Queen's Theatre | Plantilla:Hs29 June 1947, Gotinga | 5 acts |
| 10 | Silla | Plantilla:HsGiacomo Rossi, after Plutarch's Life of Sulla Italian libretto |
Plantilla:Hs2 June 1713? | London, Queen's Theatre? (or Burlington House?) | Much of the music was re-used in Amadigi | |
| 11 | Amadigi di Gaula | Plantilla:HsRossi or Haym (?), after Antoine Houdar de la Motte's Amadis de Grèce, 1699 Italian libretto |
Plantilla:Hs25 May 1715 | London, King's Theatre | Plantilla:HsOsnabrück, 1929 | Various additions during the initial run and the revivals of 1716 and 1717 |
| 12a/b | Radamisto | Plantilla:HsHaym (?), after Domenico Lalli's L'amor tirannico, o Zenobia Italian libretto |
Plantilla:Hs27 April 1720 | London, King’s Theatre | Plantilla:Hs27 June 1927, Gotinga | Librettos of the revised versions of December 1720 and 1728 exist |
| 13 | Muzio Scevola | Plantilla:HsPaolo Antonio Rolli, after a reworking of a Nicolò Minato libretto by Silvio Stampiglia Italian libretto |
Plantilla:Hs15 April 1721 | London, King’s Theatre | Plantilla:Hs1928, Essen (Act 3 only) | only Act 3 is by Handel |
| 14 | Floridante | Plantilla:HsRolli, after Francesco Silvani's La costanza in trionfo Italian libretto |
Plantilla:Hs9 December 1721 | London, King’s Theatre | Plantilla:Hs10 May 1962, Unicorn Theatre, Abingdon | Revised versions premiered in 1722, 1727 and 1733 |
| 15 | Ottone | Plantilla:HsHaym, after Stefano Benedetto Pallavicino's libretto for Antonio Lotti's opera Teofane Italian libretto |
Plantilla:Hs12 January 1723 | London, King’s Theatre | Plantilla:Hs5 July 1921, Gotinga | Revised versions premiered in 1726 and 1733 |
| 16 | Flavio | Plantilla:HsHaym, after M Noris's Il Flavio Cuniberto Italian libretto |
Plantilla:Hs14 May 1723 | London, King’s Theatre | Plantilla:Hs2 July, 1967, Gotinga | The libretto of the revised version of 1732 exists |
| 17 | Giulio Cesare | Plantilla:HsHaym Italian libretto |
Plantilla:Hs20 February 1724 | London, King’s Theatre | Plantilla:Hs1922, Gotinga | |
| 18 | Tamerlano | Plantilla:HsHaym, after Agostin Piovene and Nicholas Pradon Italian libretto |
Plantilla:Hs31 October 1724 | London, King’s Theatre | Plantilla:Hs7 September 1924, Karlsruhe | |
| 19 | Rodelinda | Plantilla:HsHaym, after Antonio Salvi, after Pierre Corneille's play Pertharite, roi des Lombards Italian libretto |
Plantilla:Hs13 February 1725 | London, King’s Theatre | Plantilla:Hs26 June 1920, Gotinga | |
| 20 | Scipione | Plantilla:HsRolli Italian libretto |
Plantilla:Hs12 March 1726 | London, King’s Theatre | Plantilla:Hs1937, Gotinga | |
| 21 | Alessandro | Plantilla:HsO Mauro Italian libretto |
Plantilla:Hs5 May 1726 | London, King’s Theatre | Plantilla:Hs1959, Stuttgart (in German) | |
| 22 | Admeto | Plantilla:HsHaym Italian libretto |
Plantilla:Hs31 January 1727 | London, King’s Theatre | Plantilla:Hs1964, Abingdon | |
| 23 | Riccardo Primo | Plantilla:HsRolli, after Francesco Briani Italian libretto |
Plantilla:Hs11 November 1727 | London, King’s Theatre | Plantilla:Hs8 July 1964, Sadler's Wells Theatre (Handel Opera Society), London | |
| 24 | Siroe | Plantilla:HsHaym, after Metastasio Italian libretto |
Plantilla:Hs17 February 1728 | London, King’s Theatre | Plantilla:HsDecember 1925, Gera | |
| 25 | Tolomeo | Plantilla:HsHaym, adapted from Carlo Sigismondo Capece Italian libretto |
Plantilla:Hs30 April 1728 | London, King’s Theatre | Plantilla:Hs19 June 1938, Gotinga | |
| 26 | Lotario | Plantilla:HsAfter Antonio Salvi Italian libretto |
Plantilla:Hs2 December 1729 | London, King’s Theatre | Plantilla:Hs3 September 1975, Kenton Theatre, Henley-on-Thames | |
| 27 | Partenope | Plantilla:HsAfter Silvio Stampiglia Italian libretto |
Plantilla:Hs24 February 1730 | London, King’s Theatre | Plantilla:Hs23 June 1935, Gotinga | |
| 28 | Poro | Plantilla:HsAfter Metastasio Italian libretto |
Plantilla:Hs2 February 1731 | London, King’s Theatre | Plantilla:Hs1928, Braunschweig | |
| 29 | Ezio | Plantilla:HsMetastasio Italian libretto |
Plantilla:Hs15 January 1732 | London, King’s Theatre | Plantilla:Hs30 June 1926, Gotinga | |
| 30 | Sosarme | Plantilla:HsAfter Salvi Italian libretto |
Plantilla:Hs15 February 1732 | London, King’s Theatre | Plantilla:Hs1970, Abingdon | |
| 31 | Orlando | Plantilla:HsAfter Capece, after Ludovico Ariosto's Orlando furioso Italian libretto |
Plantilla:Hs27 January 1733 | London, King’s Theatre | Plantilla:Hs6 May 1959, Abingdon | |
| 32 | Arianna in Creta | Plantilla:HsAfter Pietro Pariati's Arianna e Teseo | Plantilla:Hs26 January 1734 | London, King’s Theatre | ||
| 33 | Ariodante | Plantilla:HsAfter Salvi, after Ariosto's Orlando Furioso Italian libretto |
Plantilla:Hs8 January 1735 | London, Covent Garden Theatre | ||
| 34 | Alcina | Plantilla:HsAfter Ariosto's Orlando Furioso Italian libretto |
Plantilla:Hs16 April 1735 | London, Covent Garden Theatre | Plantilla:Hs1928, Leipzig | |
| 35 | Atalanta | Plantilla:HsAfter Belisario Valeriani Italian libretto |
Plantilla:Hs12 May 1736 | London, Covent Garden Theatre | Plantilla:Hs1970, Hintlesham Festival, Hintlesham | |
| 36 | Arminio | Plantilla:HsAfter Salvi Italian libretto |
Plantilla:Hs12 January 1737 | London, Covent Garden Theatre | Plantilla:Hs23 February 1935, Leipzig (in German) | |
| 37 | Giustino | Plantilla:HsAdapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino Italian libretto |
Plantilla:Hs16 February 1737 | London, Covent Garden Theatre | Plantilla:Hs21 April 1963, Abingdon | |
| 38 | Berenice | Plantilla:HsAfter Salvi | Plantilla:Hs18 May 1737 | London, Covent Garden Theatre | ||
| 39 | Faramondo | Plantilla:HsAdapted from Apostolo Zeno's Faramondo Italian libretto |
Plantilla:Hs3 January 1738 | London, King’s Theatre | Plantilla:Hs5 March 1976, Halle | |
| 40 | Serse | Plantilla:HsAfter Stampiglia Italian libretto |
Plantilla:Hs15 April 1738 | London, King’s Theatre | Plantilla:Hs5 July 1924, Gotinga | Also known as Xerxes |
| 41 | Imeneo | Plantilla:HsAfter Stampiglia's Imeneo | Plantilla:Hs22 November 1740 | London, theatre in Lincoln's Inn Fields | Plantilla:Hs13 March 1960, Halle | |
| 42 | Deidamia | Plantilla:HsRolli Italian libretto |
Plantilla:Hs10 January 1741 | London, theatre in Lincoln's Inn Fields |
Referencias editar
- Hicks, Anthony (1992), 'Handel, George Frideric' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7
- Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, 782 pages, ISBN 0-19-869164-5
- Some of the information in this article is taken from the related Dutch Wikipedia article.