POPULARITY
6 episodes with Rodelinda
2 episodes with Rodelinda
2 episodes with Rodelinda
3 episodes with Rodelinda
2 episodes with Rodelinda
Ruth Ann Swenson | Mary Phillips | Ewa Podles | Christophe Dumaux | Paul Nilon | Philip Cutlip Graeme Jenkins | Dallas Opera | 27 January 2006 | In-house recording
Hudson Hall in Hudson, New York has commissioned an ambitious multi-year series of operas by Handel with the daring, internationally acclaimed director (and Hudson resident) R.B. Schlather.The first in the series, Rodelinda, premieres at the hall on October 20. There will be 6 performances between October 20-29.
Episode 3: Kontratenorer vs kastratsangereJeg heter Astrid Kirschner, og dette er min podkast Barokkpodden!I dagens episode snakker jeg for første gang med en gjest, nemlig med den australske kontratenor-stjernen DAVID HANSEN. Vi sitter ikke på samme sted, men vi snakker sammen på Zoom – jeg i Oslo og han i Zürich. Han hjelper meg å få klarhet i en del spørsmål, for eksempel: Hvordan klarer han egentlig å synge så høyt at det låter som en kvinne? Og hva er egentlig forskjellen mellom en kontratenor og kastratsanger?David Hansen har bodd i Oslo siden 2007 og har brukt byen som base for sin internasjonale karriere som operasanger i den smale bransjen som kontratenor. Han har gjestet Den Norske Opera & Ballett i Oslo mange ganger, og har ellers sunget på operahus verden over. Han har bemerket seg i roller som Bertarido i Rodelinda ved Teatro Arriaga i Bilbao; Trinculo i The Tempest ved Santa Fe Opera; Orfeo i L'Orfeo ved Staatsoper i Berlin; Cherubino i Mozarts Figaros bryllup ved Teatro Verdi di Sassari; Farnace i Mitridate, re di Ponto ved La Monnaie i Brussel; Athamas i Händels Semele, også ved La Monnaie; Nerone i Monteverdis Poppeas kroning ved Boston Early Music Festival, Teatro Calderón og Victorian Opera; tittelrollen i Julius Cæsar ved Sächsische Staatsoper, Semperoper Dresden, Theater an der Wien og Teatro de la Maestranza de Sevilla.David Hansen er også en svært aktiv konsertsanger og har sunget under dirigenter som Nikolaus Harnoncourt, Sir Simon Rattle, René Jacobs, Marc Minkowski og Fabio Biondi, og med orkestre som Berlinfilharmonien, Les Musiciens du Louvre Grenoble og Concertgebouw, Amsterdam.I 2013 ga han ut platen Arias for Farinelli & Co., med Academia Montis Regalis og Alessandro De Marchi, og i 2018 kom hans innspilling One Charming Night (med Oslo Circles, LAWO) på markedet, begge til strålende internasjonale anmeldelser.Til hver episode av selve podkasten BAROKKPODDEN finnes det også en passende spilleliste med barokkmusikk på Spotify. Der kan du lytte til CD-innspillinger jeg anbefaler, og spillelisten til 3.episode er smekkfull av halsbrekkende italienske koloraturarier og vakre engelske sanger med dagens gjest - kontratenoren David Hansen!Søk den opp og kos deg med musikken!Her er linken til spillelisten:https://open.spotify.com/playlist/4vZq4O9uDFIANYzd21JnGG?si=df1133a7635945b5&pt=a8ce533fa66b3fa7cc7712c18bb40cc7*** Musikkeksemplene brukt i 3.episode Kontratenorer & kastratsangere:Henry Purcell: Come, ye Sons of Art, Away (Strike the viol), David Hansen, Oslo Circles (SIMAX)Henry Purcell: Come all to me, fra Timon of Athens Z 632, David Hansen, Oslo Circles (SIMAX)***Takk til Fond for Lyd og Bilde som støtter prosjektet Barokkpodden!Photo cred: Lars Bryngelsson*** Disclaimer: In my podcast Barokkpodden! I talk about different aspects of baroque music, composers, instruments, historical context and much more, and it is my sincere wish to give my interested listeners and my concert audience a better and deeper understanding of baroque music. Several record companies have given me their permisson to use their recordings of baroque music for this project. Thank you very much! Some of the record companies have limited their permission to max 30 seconds of each music clips, others have allowed me to use music clips in full length. I'm a musician myself, and I certainly do not want to hurt any other musician's rights or copy right. I hope I can increase the love to and knowledge about baroque music with this project, but if you are a musician, and prefer not to be a part of this podcast, please let me know, then I will make the changes accordingly.Best wishes,Astrid Kirschnerasursula@online.no
Rodelinda, regina de' Longobardi (HWV 19) is an opera seria in three acts composed for the first Royal Academy of Music by George Frideric Handel. The libretto is by Nicola Francesco Haym, based on an earlier libretto by Antonio Salvi. Rodelinda has long been regarded as one of Handel's greatest works.Performed by the CMD German Opera Company of BerlinConducted by their new conductor, Gertrude HeinzPurchase the music (without talk) at:Handel: Rodelinda (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com
In this episode, Davina reviews two newly released albums hot off the press: Handel's 'La Resurrezione' by The English Concert and 'John Wilbye – Draw on Sweet Night ' by I Fagiolini and Robert Hollingworth. The English Concert and Harry Bicket's acclaimed concert cycle of Handel operas and oratorios continues with its second release on Linn, following Handel's Rodelinda last year. La Resurrezione, composed by Handel in his mid-twenties, and first performed on Easter Sunday in 1708, marked the climax of Handel's time in Rome. The work details the events between and during Good Friday and Easter Sunday. This new album features some of today's finest voices including Lucy Crowe, Iestyn Davies, Sophie Bevan, Ashley Riches and Hugo Hymas. Davina is joined in The Classical Corner by Iestyn and Lucy to talk about their favourite arias, Handel's operatic writing and the process of recording the album. To welcome the spring, I Fagiolini has put aside its beloved Monteverdi to uncover its own national heritage: the best of John Wilbye's classic Golden Age madrigals. The album marks the first specific recording of Wilbye's Madrigals released since the 1980s. The album covers a central part of English choral culture that has been strangely out of fashion for so long, sung by a group that has matured into the repertoire. The plangent dissonance of ‘Draw on, sweet night' and ‘Weep, weep, mine eyes' evoke English melancholy, while ‘Sweet honeysucking bees' and ‘Adieu, sweet Amaryllis' are such sheer pleasure to sing that many listeners will scrabble to unearth old scores. Davina chats to Robert about how this new album came about, the choice of repertoire and the sheer delight of listening to and singing English madrigals. With special thanks to Linn Records and Coro for the use of these beautiful recordings. All the recordings discussed in this episode of The Classical Corner can be found in the Spotify playlist here: https://open.spotify.com/playlist/7wbunpPpFKH36KIys8OF2D?si=996cd75080bb4997
Welcome our guest: soprano Amanda Woodbury. A native of Crestwood, Kentucky, soprano Amanda Woodbury has been praised by the San Francisco Chronicle as having a voice that is “bright, beautifully colored, and full of strength and passion.” The 2021 – 2022 season sees Ms. Woodbury's debut with the Glyndebourne Festival to sing Countess in the Michael Grandage production of Le nozze di Figaro. Ms. Woodbury also returns to the Metropolitan Opera to sing Une voix d'en haut in a new production of the original five act French version of Don Carlos, and cover the title role in Rodelinda. She also made her house debut as Micaëla in Carmen with Palm Beach Opera. Orchestral engagements include Handel's Messiah with the United States Naval Academy.
Septième numéro du Cheveu en quatre, le podcast d'écoute comparative de Forumopera.com. Ce mois-ci, Selim Mazari invite Christophe Rousset et Camille De Rijck à écouter plusieurs version de « Vivi Tiranno », extrait de la Rodelinda de Haendel. Présentation et production : Selim Mazari Tous nos podcasts sur Apple Podcasts :
Anna and Krista welcome a special guest this week, Chicago radio host Amy Guth. The three discuss Handel's Rodelinda, among other things, and give Amy a crash course in everything #OperaTrash. And yes, she survived AND is down for future livetweeting!
durée : 00:13:33 - Le Disque classique du jour - "Rodelinda" de Haendel, grand succès de l'année 1725. Une oeuvre que le chef d'orchestre Harry Bicket connaît bien car il la joue depuis le milieu des années 90 et en a donné une mémorable performance en 2004 au Met de New York avec la soprano Renée Fleming.
durée : 01:57:11 - En pistes ! du lundi 31 mai 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour ouvrir cette semaine : du piano avec un album de Yu Kosuge autour du vent et une intégrale de la musique pour piano de Dvorak; de la musique de chambre avec les sonates pour violon et piano de Fauré et deux quatuors à cordes de George Onslow; les symphonies d'Andreas Romberg... - réalisé par : Lionel Quantin
Growing up in Liverpool, Harry drove his artist mother mad playing The Beatles and took to the piano, but thought of it as more of a hobby than anything else. However, the world had other plans, and with an academic scholarship to Radley College, Harry began playing the chapel organ, and met a teacher who, through his work and his introductions, would change the course of his career. Harry went from the Royal College of Music to organ scholar at St George's Chapel, Windsor and to Christ Church College, Oxford where he was also an organ scholar, and to on to Westminster Abbey. However, the lonely nature of the job forced him to re-think his options, and on the brink of quitting music for business, his neighbour introduced him to Mark Elder, Music Director of English National Opera at the time. Having barely seen an opera, or indeed heard of a repetiteur, after some impressive sight-reading Harry was on the music staff, where he arrived on his first day only to be shouted at by Charles Mackerras for fumbling the offstage banda in The Makropulos Case. Harry shares his journey from his early years through to his successful international career, including his work as the Artistic Director of the English Concert and as Music Director of Santa Fe Opera. Read more about Harry on his agent's website here Read more about The English Concert and their recent Rodelinda recording here Read about Santa Fe Opera here
Rodelinda, regina de' Longobardi (HWV 19) is an opera seria in three acts composed for the first Royal Academy of Music by George Frideric Handel. The libretto is by Nicola Francesco Haym, based on an earlier libretto by Antonio Salvi. Rodelinda has long been regarded as one of Handel's greatest works. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1326/Handel%3A_Rodelinda%2C_regina_de%27_Longobardi%2C_HWV_19.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com
Als Schöpfer der Feuerwerksmusik, der Wassermusik und berühmter Oratorien wie des Messias, galt Georg Friedrich Händel auch schon vor einhundert Jahren als einer der großen Meister deutscher Tonkunst. Völlig in Vergessenheit geraten war seinerzeit paradoxerweise hingegen, wofür er zu Lebzeiten in erster Linie gefeiert worden war: seine über 40 Opern. Dass einige Musiker und Wissenschaftler um den Kunsthistoriker Oskar Hagen 1920 in Göttingen eine Wiederaufführung seiner Rodelinda auf die Beine stellten, hatte vor diesem Hintergrund den Charakter einer echten Pioniertat, deren musikhistorische Bedeutung kaum zu überschätzen ist. Die Ausgrabung der Rodelinda läutete nicht nur eine bis heute fortdauernde sogenannte Händel-Renaissance in der Oper ein. Als erstes Festival für Alte Musik überhaupt markierten die damit begründeten Göttinger Händel-Festspiele tatsächlich ein Schlüsseldatum der gesamten gleichnamigen Bewegung. Die Vossische Zeitung hatte also den richtigen Riecher, als sie damals einen Berichterstatter in die niedersächsische Theaterprovinz entsandte, dessen Rezension vom 4. Juli das Potential der Barockoper für die Musikbühne des 20. Jahrhunderts bemerkenswert klar erkennt. Für uns liest Frank Riede.
Fine Music Radio — TITLE: “Parasite” and Handel. TRACK: Handel: “Mio Cara Bene” from Rodelinda. ARTIST: Simone Kerr with Alan Curtis & Il Complesso Barocco. PUBLISHER: Deutsche Grammophon 2005.
World Stage Design 2021 - Official Site April Viczko is a set, costume, lighting and projection designer. Recent selected credits include: costumes for Butcher at Alberta Theatre Projects, In the Heat of the Night at Vertigo Theatre, set and costumes for As You Like It at Citadel Theatre, set design for Home at The Belfry and lighting design for Victor and Victoria’s Terrifying Tale of Terrible Things for Kill Your Television. April has also worked for companies such as Tarragon, Factory Theatre, Workshop West and Windrow Performance. She was nominated for a Dora Award for Outstanding Costume Design for the critically acclaimed Last Days of Judas Iscariot produced by Birdland Theatre. April is an Associate Professor in the School of Creative and Performing Arts - Drama at the University of Calgary. She teaches courses in all areas of theatre design and scenography. April holds an MFA Theatre Design from the University of Alberta. In 2012, she was honoured with a Distinguished Researcher Award from the Faculty of Arts. She is President of the Board of Directors for the Associated Designers of Canada (ADC). ADC is a national, professional non-profit arts service organization dedicated to promoting, pursuing and protecting the interests of set, costume, lighting, projection and sound designers working within the performing arts in Canada. In 2006, she shared the Siminovitch Protege Prize. In 2000 she recieved a Tyrone Guthrie Award at the Stratford Festival of Canada where she spent four seasons as an assistant designer. She was also Associate Designer on two productions at the Canadian Opera Company, Rodelinda and Macbeth. April apprenticed in Rome, Italy with Scenotecnica Piu’, a company known for its fine craftmanship and majestic scenography.
Conversem amb el tenor Joel Prieto, recent Grimolado en les funcions de "Rodelinda" al Liceu. Anunciem la propera "Cendrillon" de Viardot de Sarri
Conversem amb el tenor Joel Prieto, recent Grimolado en les funcions de "Rodelinda" al Liceu. Anunciem la propera "Cendrillon" de Viardot de Sarri
Parlem de la 50ena edici
Parlem de la 50ena edici
Entre el 2 i el 15 de març, i en el marc del Barcelona Obertura Spring Festival, podrem gaudir de Rodelinda, una òpera del Barroc tardà que Händel composà a Londres.
A Baroque-style opera by George Frideric Handel, Rodelinda premiered in 1725 in London. Considered by Beethoven to be “the greatest composer who ever lived,” Handel created operas which tug at our emotions and fill our senses. The title character of Rodelinda is a queen who is under house-arrest following the supposed death of her royal husband. She rebuffs the persistent advances of his usurper and his scheming advisor, all while bravely protecting her young son. Events do not go smoothly when her husband returns on the scene. Dare we hope for a happy ending? Find out on this episode of Opera for Everyone.
On today's episode of Opera for Everyone, we review Handel's opera Tamerlano. The story takes place in 1402 in Prusa. The defeated Ottoman Emperor Bajazet is brought in chains to the court of Tamerlano. He has ordered Andronico to remove the chains, but Bajazet is mistrustful of this action. Bajazet adds that the only reason he does not commit suicide is his love for his daughter, Asteria. Tamerlano arrives and orders Andronico to try to getn Bajazet and Asteria’s consent for Asteria to marry him, with a reward for Andronico of the Greek throne, marriage with Irene, and freedom for Bajazet. Andronico is troubled, as he brought his love Asteria to try and soften Tamerlano, only to see him fall in love with her. Tamerlano tells Asteria his intentions and the offer to Andronico, which makes her angry at Andronico’s seeming betrayal. Tamerlano is an opera in three acts written by George Frideric Handel with an Italian libretto by Nicola Francesco Haym. The story is based on the story of Tamerlano by Agostin Piovene, as well as another libretto entitled Bajazet after Nicolas Pradon's Tamerlan. Tamerlano is considered one of Handel's major works, and it was composed in only 20 days 1724 - the same year he wrote Giulio Cesare and Rodelinda. Hosted by Pat Wright with special guest Grant Wright.
Handel's Rodelinda - pre-performance talk, recorded live at the London Coliseum on Wednesday 1 November, 2017. Host Christopher Cook in conversation with: Speaker: Berta Joncus (scholar) Speaker: David Webb (singer) Speaker: Chris Hopkins (ENO music staff) Find out more about ENO's pre-performance talks on our website: www.eno.org/talks
Arien aus Opern von Georg Friedrich Händel ("Giulio Cesare in Egitto", "Alcina", "Theodora", "Rodelinda, regina de‘ Longobardi", "Agrippina" und "Rinaldo") und Henry Purcell ("Dido and Aeneas") | onya Yoncheva (Sopran) | Karine Deshayes (Mezzosopran) | Academia Montis Regalis | Leitung: Alessandro De Marchi
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Handel was on an operatic roll in 1724 - he produced three great operas that year including 'Rodelinda', which Suzy Klein and Christian Curnyn discuss.
Rodelinda Podcast by English National Opera
George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia
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