Oreste (Handel)

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Work data
Original title: Oreste
Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Giovanni Gualberto Barlocci, L'Oreste (Rome 1722)
Premiere: December 18, 1734
Place of premiere: Theater Royal, Covent Garden , London
Playing time: 2 ¾ hours
Place and time of the action: Greece , in the 12th century BC BC , during the Trojan War
people
Orestes meets Hermione , around 1800

Oreste , German Orest ( HWV A 11 ) is a baroque opera ( Dramma per musica ) in three acts. The opera is not a new composition, but is a pasticcio compiled from Handel's earlier operas . Taking advantage of the presence of the famous choreographer and dancer Marie Sallé and her company in London , Oreste is equipped with extensive ballet scenes. The world premiere took place on December 18, 1734.

Emergence

At the end of the season, on July 6, 1734, the contract between Johann Jacob Heidegger and Handel for the lease of the King's Theater on Haymarket had expired. They were not partners: Handel was employed as music director and composer, but the manager was free to lease the theater to a more financially strong company. He did this - and leased it to the aristocratic opera . Handel responded quickly and turned to John Rich , who had been so successful with the beggar opera and with the proceeds from it had built a new theater, the Theater Royal in Covent Garden . The architect entrusted with this project was Edward Shepherd , who had completed the Cannons Palace for the Duke of Chandos . The building looked quite ostentatious from the outside ( "... an expensive Ionic portico." William Kent called it ), but the interior with the usual fan-shaped auditorium corresponded to the Lincoln's Inn Fields Theater. Due to its large stage, it was just as suitable for opera and oratorio performances . Handel recognized the possibilities offered by this theater, and Rich agreed to a program in which his plays and pantomimes would alternate with Handel's operas.

Despite the dire prognoses of the Abbé Antoine-François Prévost d'Exiles, author of the famous novel Manon Lescaut , in his weekly Le Pour et le Contre (The pros and cons) ,

«[…] Et manque de ce fondement il a fait tant de dépenses ruineuses, et tant de beaux operas à pure perte, qu'il se trouve forcé de quitter London pour retourner dans sa patrie. »

"[...] he suffered such great losses and wrote so many wonderful operas, which turned out to be utter failures, that he will be forced to leave London and return to his home country."

- Antoine-François Prévost : Le Pour et le Contre , Paris 1734

Handel stayed in England, but started a spa treatment in Tunbridge Wells,

"To get rid of that dejection of mind, which his repeated disappointments had brought on him [...]"

"In order to free himself from the dejection that had befallen him because of the recurring disappointments [...]"

- John Hawkins : A General History of the Science and Practice of Music , London 1776

The first personal letter we received from Handel in English dates from this summer. In it he apologizes to Sir Wyndham Knatchbull for not being able to travel from Tunbridge Wells to Ashford :

“Sir At my arrival in Town from the Country, I found my self honored of your kind invitation. I am very sorry that by the situation of my affairs I see my self deprived of receiving that Pleasure, being engaged with Mr. Rich to carry on the Opera's in Covent Garden. I hope, at your return to Town, Sir, I shall make up this Loss [...] ”

“Sir, when I arrived in town after returning from the country, I found that you had done me the honor of inviting me. To my regret, my current business situation prevents me from accepting this invitation as I am working with Mr. Rich on a continuation of the operas in Covent Garden. I hope to be able to make up for this failure on your next visit to the city [...] "

- Georg Friedrich Handel : Letter to Wyndham Knatchbull, August 27, 1734

When the new season started, the aristocratic opera had all the trump cards in hand: it had the best theater, the most subscribers and the best singers from Handel's former troupe. Almost all the other singers had joined Senesino : Antonio Montagnana , Francesca Bertolli and Celeste Gismondi . Only the soprano Anna Maria Strada del Pò remained loyal to Handel. To top it all off, the world's most famous vocal virtuoso: Carlo Broschi, commonly known as Farinelli , was presented at the Haymarket. Lord Cowper had first heard him on his gentlemanly voyage in Venice . Now, as director of the new opera, he could see its effect on the London musicians, as Burney later describes:

“[…] A voice of […] uncommon power, sweetness, extent, and agility […] On his arrival here, at the first private rehearsal at Cuzzoni's apartments, Lord Cooper, then the principal manager of the opera under Porpora, observing that the band did not follow him, but were all gaping with wonder, as if thunder-struck, desired them to be attentive; when they all confessed, that they were unable to keep pace with him, having not only been disabled by astonishment, but overpowered by his talents. [...] There was none of all Farinelli's excellencies by which he so far surpassed all other singers, and astonished the public, as his messa di voce , or swell; which, by the natural formation of his lungs, and artificial economy of breath, he was able to protract to such a length as to excite incredulity even in those who heard him; who, though unable to detect the artifice, imagined him to have had the latent help of some instrument by which the tone was continued, while he renewed his powers by respiration. "

"[...] a voice with [...] unusual strength, gentleness, volume and agility [...] After his arrival here, at the first private rehearsal in the Cuzzoni apartment , Lord Cowper, then director of the opera under Porpora , observed the orchestra did not follow this, but instead sat there, amazed and moved by thunder, and warned her to pay attention. They then confessed that it was impossible for them to keep up with him; they are not only paralyzed with astonishment, but completely overwhelmed by his ability. […] There were no merits Farinelli had that did not surpass all other singers and astonished the audience, like his messa di voce or swell tone. Because of the nature of his lungs and his skillfully frugal breathing, he was able to endure sounds so long that even those who heard him could not believe it; even if they weren't able to recognize the skill and assumed that he was using some instrument the whole time that kept the note sounding while he took his breath. "

- Charles Burney : A General History of Music. London 1789

Most convincing, however, is the praise of Paolo Antonio Rollis , who, as a close friend of Senesino, would most likely have had something to complain about:

“Non voglio però, perchè no'l merita, tacervi che il Farinello mi à sorpreso di tal maniera; ch'io mi sono accorto non aver prima inteso se non una particella del canto umano, ed ora lusingomi sentirne il Tutto. Egli è inoltre d'amabilissimi e accorti costumi, onde con piacer sommo ne godo la conoscenza e la vicinanza. "

“I have to let you know, however, because everyone should know that Farinelli was a revelation to me. I realized that up to that point I had heard only a fraction of what a person can achieve singing, while now I believe that I have heard everything that can be heard. In addition, he has an extremely pleasant and intelligent nature, so that his company and acquaintance gives me the greatest pleasure. "

- Paolo Antonio Rolli : Letter to Giuseppe Riva , London, November 9, 1734

The Opera of the Nobility kicked off the season on October 29 with the performance of Pasticcios Artaserse in the Haymarket Theater. The music was by Farinelli's brother, Riccardo Broschi and Johann Adolph Hasse , who had refused to come to England for the aristocratic opera when he learned that Handel was still alive. The audience and even Farinelli's colleagues on stage were overwhelmed and a lady of high standing shouted: "One God and one Farinelli!" , And William Hogarth immortalized this saying in Marriage à la Mode, IV .

Marriage à la Mode , IV, William Hogarth , 1743, Farinelli left

With so much flattery, there was little Handel could counter:

“A Scholar of M r Gates, Beard, (who left the Chappell last Easter) shines in the Opera of Covent Garden & M r Hendell is so full of his Praises that he says he will surprise the Town with his performances before the Winter is over. "

“One of Mr. Gates' students, Beard (who left the choir last Easter), is making a name for himself at the Covent Garden Opera; Handel is very praiseworthy and says he will surprise the city with his performances before winter comes to an end. "

- Lady Elizabeth : Letter to the Countess of Northampton , London, November 21, 1734

The second new discovery, which was to influence his next music-dramatic works, was the famous dancer Marie Sallé, who first came into contact with Handel as a 10-year-old child in a Rinaldo performance in June 1717. This "muse of graceful and modest gestures" was employed by Rich for his pantomimes. The London correspondent for the Mercure de France wrote of their London appearances:

«Elle a osé paroître dans cette Entrée sans panier, sans jupe, sans corps et échevelée, et sans aucun ornement sur sa tête; elle n'estoit vêtuë avec son corset et un jupon, que d'une simple robbe de mousseline tournée en draperie, et ajustée sur le modele d'une Statuë Grecque. »

"She dared to appear without a crinoline , skirt or bodice and with her hair down. Besides a corset and petticoat , she wore a simple muslin dress that she had wrapped around her like a Greek statue."

- Mercure de France , Paris, April 1734

For her and her dance troupe, Handel revised Il pastor fido again , this time adding ballet music to each act. As The Daily Post reported, he offered "... a new Dramatic Entertainment (in Musick) call'd, Terpsicore ..." ("... a new form of entertainment (musical) entitled Terpsichore ...") - his only one French style opera ballet.

For his first new opera of the season, Handel had decided not to boast another heroic story, but to take up a lighter subject by Ludovico Ariosto . On August 12, 1734, he began composing Ariodante and planned to release the opera as the first work in his new place of work the following winter, but while the opera was being set to music, he was apparently not quite clear about the cast and let it be lie for the time being. The Sallé dance troupe may also have arrived late from Paris. For these reasons and in view of the success of Hasses Artaserse, he countered first in November with revivals of Il Pastor fido , Arianna in Creta and in December with Oreste , a compilation of existing compositions from nine of his earlier operas. It is conceivable that Handel's new Primouomo Giovanni Carestini inspired the choice of material for the subject, which goes back to Euripides ' Iphigenia among the Taurians .

It premiered on December 18, 1734 at the Covent Garden Theater in London and the work was received with great applause. The king , whose benevolence and financial support had Handel, was present at the performance. Despite the success, there are only two other performances on December 21st and 28th.

Cast of the premiere

For his first season at the Covent Garden Theater, which only opened in 1732, Handel had a predominantly young and excellent ensemble available - first and foremost the soprano Anna Maria Strada, the only one who had remained loyal to Handel. From 1729 to 1737 she sang all female leading roles in his operas. The castrato Giovanni Carestini shone as Oreste, an outstanding artist as a singer and as an actor, whom many experts even preferred to Farinelli. Handel himself is said to have valued him immensely. Carestini (born 1704) began his studies in Milan when he was twelve . In 1724 he made his debut in Rome in Alessandro Scarlatti's La Griselda , at the side of his teacher Antonio Bernacchi (who later taught Farinelli and in the 1729/30 season played the main male role in Handel's Lotario and Partenope ) . Carestini enjoyed great success in Vienna , Venice , Prague , Rome, Naples and Munich before coming to London in the autumn of 1733. Charles Burney writes about him:

“His voice was at first a powerful and clear soprano, which afterwards changed into the fullest, finest, and deepest counter-tenor that has perhaps ever been heard […] Carestini's person was tall, beautiful, and majestic. He was a very animated and intelligent actor, and having a considerable portion of enthusiasm in his composition, with a lively and inventive imagination, he rendered every thing he sung interesting by good taste, energy, and judicious embellishments. He manifested great agility in the execution of difficult divisions from the chest in a most articulate and admirable manner. It was the opinion of Hasse, as well as of many other eminent professors, that whoever had not heard Carestini was inacquainted with the most perfect style of singing. "

“His voice was first a strong and clear soprano, later he had the fullest, finest and deepest counter-tenor that could ever be heard […] Carestini's figure was tall, beautiful and majestic. He was a very dedicated and intelligent actor and since he was endowed with a good dose of enthusiasm for composition coupled with a lively and resourceful imagination, he made everything he sang interesting through good taste, energy and clever adornments. He had a great ability to make the chest voice wonderful with great clarity, even in difficult areas. In the opinion of Hasse and many other famous teachers, anyone who has not heard Carestini was not yet familiar with the most perfect singing style. "

- Charles Burney : A General History of Music. London 1789

The seventeen-year-old John Beard was soon to be considered the best English singer of his time, and Cecilia Young, who married Thomas Augustin Arne in 1737 , was at the beginning of a great career. Maria Caterina Negri was a mezzo-soprano who specialized in trouser roles and the bassist Gustav Waltz, who came from Germany, took part in many of Handel's operas and oratorios in the years that followed.

libretto

Interesting is the fact that Handel often reacted to subjects of the operas of the competition with related pieces: against Nicola Porpora's Arianna in Nasso he had competed with his Arianna in Creta , just as he is now Porporas Ifigenia in Aulide his own Iphigenie opera, Oreste , faced. He used the libretto of the same name by Giovanni Gualberto Barlocci , which was set to music by Benedetto Micheli, on December 28, 1722 in Rome as a template . Handel could have obtained the relatively unknown libretto in two ways: since it is dedicated to the wife of the Marchese Ruspoli , Maria Isabella Cesi Ruspoli, who sponsored Handel in 1707/08 during his first visit to Italy, he was able to get it from there in 1729 after his renewed visit to Rome have brought with them, or it was recommended to Handel by Giovanni Carestini, who had already appeared in Rome as a pilade in L'Oreste by Barlocci / Micheli and was now intended by Handel for the title role. When preparing his score, Handel had the libretto revised by his London text editor ( Giacomo Rossi or Angelo Cori , or even Handel himself?), From which only the recitatives (in abbreviated form) and six aria texts, which were adapted to the music of the original arias were adopted, so that none of Barlocci's original arias can be found in Handel's Oreste . Opera-goers in London could purchase the textbook (printed by Thomas Wood) in bilingual form, the original Italian text and an English translation at the Covent Garden Theater box office.

As far as the coherence of the plot is concerned, Oreste is one of the best opera libretti that Handel ever set to music, even if the inserted character of some arias (sudden mood swings from Oreste to aria No. 4 or from Ermione to aria No. 23) are not overlooked can. In terms of content, there are only insignificant differences to later works, such as Guillard's libretto for Gluck's Iphigénie en Tauride (1779) or Goethe's dramatization ( Iphigenie auf Tauris , 1787). All of them ultimately refer to Euripides , Sophocles and Aeschylus . In Handel's opera libretto, however, the figure of Iphigenia is weakened to a “seconda donna”, while Hermione, as the wife and lover of the title hero, is built up into the actual tragic heroine following the opera convention. In addition, the focus of the plot is on the development of Iphigenie's brother Orestes and it even comes to a conclusion that is convincing to us today: the death of the tyrant Thoas. This in no way corresponds to the usual lieto fine of an ordinary opera seria , but it has much more persuasive power than the implausible endings in which a bloodthirsty tyrant often enough transforms himself into a radiant savior.

action

Orestes and Pylades meet Iphigenia in Tauris ( vase painting from the 4th century BC, Louvre , Paris)

Historical and literary background

Barlocci's libretto goes back to the mythological drama Ιφιγένεια εν Ταύροις ( Iphigenia among the Taurians , approx. 414 BC) by Euripides . In addition, suggestions from the tragedies Ὀρέστεια γ, Εὐμενίδες ( The Eumenids , 458 BC) by Aeschylus and Ἠλέκτρα ( Elektra , approx. 413 BC) by Sophocles were taken up. The well-known story is extended by some elements typical of the opera, the ideas of which come from Herodotus' Histories in Book Four , Ovid's Letters from the Black Sea ( Epistulae ex Ponto ) and Cicero's Laelius on friendship ( Laelius de amicitia ). For example, when Orestes is not accompanied by his loyal friend Pylades on his escape. Pylades accompanies Orestes wife Hermione, who follows Orestes and with whom the evil taurian king Thoas falls in love immediately after their arrival.

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music

With Oreste , Handel had created a pasticcio that mainly consists of sentences from operas from the two preceding academies : Radamisto , Floridante , Ottone , Tamerlano , Riccardo Primo , Siroe , Lotario , Partenope and Sosarme . In addition, there are ballet movements at all three acts in the form of movements, some of which have also been tried and tested, from the two works Il pastor fido and Arianna in Creta listed immediately before . The final chorus also comes from Arianna . The overture is a new version of the overture to the cantata Clori, Tirsi e Fileno ( Cor fedele in vano speri , HWV 96) from his Italian youth (1707). The first scene opens with an Arioso from Agrippina : Pensieri voi mi tormentate (No. 1) becomes the appearance of the title hero, tormented by the furies. The aria Sento nell'alma mia (No. 21) in the second act is based on Lucide stelle from Rodrigo . The ballet movements No. 11 (Gavotte) and 13 (Gigue), the two Accompagnati and the Secco recitatives are new compositions, but not arias, as the older Handel literature repeatedly asserts.

Six aria texts by Barlocci were adapted to the music of the original arias: Io ti levo l'impero dell'armi from Partenope (there No. 13) becomes Io sperai (No. 7), Se discordia ci disciolse from Sosarme (there No. 15) becomes Vado intrepido (No. 8), Finchè lo strale non giunge from Floridante (No. 9 there) becomes Pensa, ch'io sono (No. 9), the Siciliano Figlia mia non pianger no from the dying scene of Bajazet in Tamerlano (there no.39 ) becomes the poignant farewell song of the pilade Caro amico a morte m'en vò ( no.18 ), Non chiedo, oh luci vaghe from Partenope (there no.28 ) becomes Qualor tu paga sei (no. 20) and Baccia per me la mano from Riccardo Primo (there No. 33) becomes Piango dolente il sposo (No. 30).

A number of other movements were taken directly from the original operas to match the context of the work; a transposition was not necessary (numbers 6, 10, 23, 31, 32, 42). Finally, Handel selected suitable arias, which were subsequently given a new text. The pasticcio combines pieces that were composed over a period of 27 years without the listener revealing a break in style. The opera won in this way fits seamlessly into the series of opera performances of 1734 with choir and ballet pieces.

An independent autograph of the opera Oreste does not exist, which is not surprising in the case of a pasticcio. A director's score and a harpsichord score written afterwards have been preserved. There the music part is handed down in the way that Handel performed the work. The autographs and director's scores from which Handel borrowed his music for Oreste are to be regarded as additional sources .

Since it is a pasticcio opera, Oreste is not listed in the Handel Works Directory with its own work number, but in the appendix as " A11 ".

Success and criticism

"Last Night their Majesties were at the Theater Royal in Covent-Garden, to see the Opera of Orestes, which was perform'd with great applause."

"Last night, Her Majesties were at the Royal Opera House in Covent-Garden to see the opera Orestes , which was performed with great success."

- The Bee. December 21, 1734 (notification of December 19)

»The opera closes with a logical and satisfying lieto fine , the plot is very direct and appears realistic. It is concentrated on the essentials, and superfluous entanglements are avoided, as is the unbelievable purification of the tyrant that is so often observed in the opera seria. "

- Annette Landgraf : Oreste , piano reduction, Kassel 2008

»This [pasticcio] practice, which was widespread at the time, received little attention in later, original work-based music research - with the exception of two premieres in 1988 in Halle / Saale and 1993 in Wiesbaden, theaters consistently ignored the piece. Regrettable! Because the work, which is indeed the result of secondary musical exploitation, captivates with its downright compelling dramaturgy, the straightness of which is striking, and which does not require a lieto fine to come to an end. The ancient Iphigenia material on which the libretto was based, which was popular at the time, also harbors the utopia of a political metamorphosis. Oreste, the title character, develops from a figure robbed of her senses and persecuted by the furies into an active, ready-to-act hero who lends a hand to free Tauris, the host country, from the dictator Toante in joint action. - Not entirely out of date. "

- Deutschlandfunk , Cologne 2004

“The score of Oreste contains only arias from earlier works by Handel, some of which, however, have been adapted extremely effectively to the new plot. […] Despite the […] pasticcio character, Oreste can be seen as a fully-fledged musical and dramatic work by Handel, as has been impressively demonstrated by repeated performances today. "

- Steffen Voss : Oreste , Laaber 2011

Performance history

In modern times, the opera, which Handel himself regarded as a fully valid work and was therefore included in the complete edition in 1991 , was first performed again on June 4, 1988 during the Handel Festival in Halle (Saale) with the Handel Festival Orchestra in Halle under the direction of Christian Kluttig played. Directed by Andreas Baumann. This was followed by the Wiesbaden State Theater in 1992. On January 14, 2000, the opera was given in the original language and historical performance practice for the first time in the Linburg Studio Theater in London during the English Bach Festival . The English Bach Festival Baroque Orchestra under the direction of Howard Williams played. The pasticcio has only recently been performed more frequently (May 2015 Theater Bremen directed by Robert Lehniger, November 2016 Royal Opera House Covent Garden, March 2017 Theater an der Wien directed by Kay Link ).

orchestra

Two oboes , two horns , strings, lute , basso continuo ( violoncello , lute, harpsichord ).

Discography

  • Hessisches Staatstheater (1994): Gabriela Künzler (Oreste), Heidrun Kordes (Ermione), Deborah Lynn Cole (Ifigenia), Jochen Elbert (Pilade), Martin Bruns (Toante), Florian Mayr (Filotete)
State Orchestra Wiesbaden; Dir. Michael Hofstetter (cross section)
  • MDG LC 6768 (2003): Mary-Ellen Nesi (Oreste), Maria Mitsopoulou (Ermione), Mata Katsuli (Ifigenia), Antonis Koroneos (Pilade), Petros Magoulas (Toante), Nicholas Spanos (Filotete).
Camerata Stuttgart; Gov. George Petrou
  • Komische Oper Berlin (2006): Charlotte Hellekant (Oreste), Valentina Farcas (Ermione), Maria Bengtsson (Ifigenia), Finnur Bjarnason (Pilade), James Creswell (Toante), Maria Streijffert (Filotete).
Orchestra of the Komische Oper Berlin ; Dir. Thomas Hengelbrock (135 min, German, DVD)
  • Animato ACD 6123 (2011): Cornelia Lanz (Oreste), Nastasja Docalu (Ermione), Sabine Winter (Ifigenia), Christian Wilms (Pilade), Kai Preußker (Toante), Armin Stein (Filotete)
Instrumental ensemble; Dir. Tobias Horn (157 min)

literature

  • Editing of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 .
  • Bernd Baselt : Thematic-systematic directory. Instrumental music, pasticci and fragments. In: Walter Eisen (ed.): Handel manual. Volume 3, Deutscher Verlag für Musik, Leipzig 1986, ISBN 3-7618-0716-3 , p. 396 f.
  • Albert Scheibler: All 53 stage works by Georg Friedrich Handel, opera guide. Edition Köln, Lohmar / Rheinland 1995, ISBN 3-928010-05-0 , p. 771 ff.
  • Christopher Hogwood : Georg Friedrich Handel. A biography (= Insel-Taschenbuch. 2655). from the English by Bettina Obrecht. Insel Verlag, Frankfurt am Main / Leipzig 2000, ISBN 3-458-34355-5 .
  • Annette Landgraf: Oreste. Preface to the piano reduction. Bärenreiter-Verlag, Kassel 2008, ISMN 979-0-006-53332-9 (search in the DNB portal) , p. IV f.
  • Annette Landgraf: Oreste. In: Annette Landgraf, David Vickers: The Cambridge Handel Encyclopedia. Cambridge University Press, 2009, ISBN 978-0-521-88192-0 , pp. 465 f. (English)
  • Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006. (Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 ) (English)
  • Steffen Voss : Oreste. In: Hans Joachim Marx (Hrsg.): The Handel Handbook in 6 volumes: The Handel Lexicon. Volume 6, Laaber-Verlag, Laaber 2011, ISBN 978-3-89007-552-5 , p. 534.

Web links

Individual evidence

  1. ^ A b c Donald Burrows: Commerce. Oxford University Press, 1994, ISBN 0-19-816649-4 , p. 413.
  2. ↑ a b c d e f g h i Christopher Hogwood : Georg Friedrich Händel. A biography (= Insel-Taschenbuch 2655). from the English by Bettina Obrecht. Insel Verlag, Frankfurt am Main / Leipzig 2000, ISBN 3-458-34355-5 , p. 213 ff.
  3. ^ Editing management of the Halle Handel Edition : Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 243.
  4. ↑ Sir John Hawkins : A General History of the Science and Practice of Music. London 1776. (New edition 1963, Volume II, p. 878).
  5. ↑ A General History of the Science and Practice of Music . archive.org, accessed February 6, 2013 .
  6. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 244.
  7. ^ Charles Burney : A general history of music:… Volume 4, London 1789. (Reprint of the Cambridge Library Collection, 2011, ISBN 978-1-108-01642-1 , pp. & N379 f.)
  8. ↑ a b Edition management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 246.
  9. ^ A b Bernd Baselt : Thematic-systematic directory. Stage works. In: Walter Eisen (ed.): Handel manual. Volume 1, Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-7618-0610-8 (Unchanged reprint, Kassel 2008, ISBN 978-3-7618-0610-4 ), p. 408 f.
  10. ↑ Mercure de France, dédié au Roy. Avril. 1734. Paris 1734, pp. 771 f.
  11. ↑ Mercure de France , April 1734
  12. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 245.
  13. ^ A b Dorothea Schröder: Trade. Ariodante. DG 457271-2, Hamburg 1997, p. 24 ff.
  14. ↑ a b c d e f g h Annette Landgraf: Oreste. Preface to the piano reduction. Bärenreiter-Verlag, Kassel 2008, ISMN 979-0-006-53332-9 (search in the DNB portal) , p. IV f.
  15. ^ Charles Burney : A general history of music:… Vol. 4, London 1789. (Reprint of the Cambridge Library Collection, 2011, ISBN 978-1-108-01642-1 , pp. 369 f.)
  16. ↑ David Vickers: Handel. Arianna in Creta. Translated from the English by Eva Pottharst. MDG 609 1273-2, Detmold 2005, p. 30 ff.
  17. ↑ a b c d e f Steffen Voss: Oreste. In: Hans Joachim Marx (Hrsg.): The Handel Handbook in 6 volumes: The Handel Lexicon. Volume 6, Laaber-Verlag, Laaber 2011, ISBN 978-3-89007-552-5 , p. 534.
  18. ↑ Barlocci biography
  19. ↑ a b c Bernd Baselt : Thematic-systematic directory. Instrumental music, pasticci and fragments. In: Walter Eisen (ed.): Handel manual. Volume 3, Deutscher Verlag für Musik, Leipzig 1986, ISBN 3-7618-0716-3 , p. 396 f.
  20. ^ Albert Scheibler: Complete 53 stage works by Georg Friedrich Handel, opera guide. Edition Köln, Lohmar / Rheinland 1995, ISBN 3-928010-05-0 , p. 771 ff.
  21. ↑ a b TAMINO-Opernforum 2010. tamino-klassikforum.at, accessed on June 25, 2013 .
  22. ^ Annette Landgraf: Oreste. In: Annette Landgraf, David Vickers: The Cambridge Handel Encyclopedia. Cambridge University Press 2009, ISBN 978-0-521-88192-0 , pp. 465 f. (English).
  23. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (ed.): Handel manual. Volume 4, Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 248.
  24. ↑ New record . DeutschlandRadio, accessed June 25, 2013 .
  25. ↑ recent productions. Retrieved March 21, 2017 .