Arminio (Handel)

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Work data
Title: Arminio
Title page of the score, London 1737

Title page of the score, London 1737

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Antonio Salvi , Arminio (1703)
Premiere: January 12, 1737
Place of premiere: Theater Royal, Covent Garden , London
Playing time: 2 ½ hours
Place and time of the action: Germania , on the right bank of the Rhine, 9 AD
people
  • Arminio , a prince of the Cherusci ( old )
  • Tusnelda , his wife, Segeste's daughter ( soprano )
  • Sigismondo , Segeste's son, in love with Ramise (soprano)
  • Ramise , sister of Arminios (old)
  • Varo , Roman general, governor in Germania ( tenor )
  • Segeste , a prince of the Cherusci, ally Varos ( bass )
  • Tullio, Roman tribune (alto)
  • Roman and Germanic leaders, warriors, guards, people
Arminius' triumph in the Varus Battle, Johann Heinrich Tischbein the Elder , 1758

Arminio ( HWV 36) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Händel and, alongside Giustino and Berenice, one of the three operas that Handel composed for the 1736/37 season within six months.

Emergence

The Daily Post reported shortly after Handel had ended the season with the eighth performance of Atalanta a few days earlier:

“We hear that several Persons have been sent to Italy from the two Theaters, to engage some additional Voices, for the carrying on of Operas for the ensuing Season, and that Sig. Dominichino, one of the best Singers now in Italy, is engaged by Mr. Handel, and is expected over in a short time. "

According to reports, the two opera houses have sent various people to Italy in order to look for a few more voices for the next season, and Signor Dominichino, one of the best Italian singers today, is said to have been hired by Mr. Handel and is expected here shortly . "

- The London Daily Post , London, June 18, 1736

The named singer then came to England from Dresden in October and, as was customary, was first heard at court before his first appearance:

“On Tuesday last Signor Dominico Annibali, the celebrated Italian Singer lately arriv'd from Dresden, to perform in Mr. Handel's Opera in Coven-Garden, was sent for to Kensington, and had the Honor to sing several Songs before her Majesty and the Princesses, who express'd the highest Satisfaction at his Performance. "

"Last Tuesday [5. October] the celebrated Italian singer Domenico Annibali , recently arrived here from Dresden to appear in Handel's Coventgarden Opera, was sent to Kensington, where he had the honor of performing various chants for the Queen and Princesses, who were most pleased with this performance . "

- The Old Whig , London, October 14, 1736

Another newspaper report, according to which the three ladies engaged by the opposing " Opera of the Nobility ", found the same approving reception at court:

“Signora Merighi, Signora Chimenti, and The Francesina (Three Singer lately come from Italy, for the Royal Academy of Musick) had the honor to sing before her Majesty, the Duke, and Princesses, at Kensington, on Monday Night last, and met with a most gracious Reception, and her Majesty was pleased to approve their several Performances: after which, The Francesina, performed several Dances to the entire Satisfaction of the Court. "

"Signora Merighi [Antonia Margherita Merighi], Signora Chimenti [Margherita Chimenti, called" La Droghierina "] and the Francesina [Elisabeth Duparc, called" La Francesina "], three singers who had recently come for the Royal Music Academy of Italy last Monday evening the honor of singing to the Queen, Duke and Princesses at Kensington, and met with a most gracious reception; Her Majesty deigned to applaud her lectures, and in the end Francesina made the court a great pleasure with her dances. "

- The London Daily Post , London, November 18, 1736

Maria Strada had spent the summer with Princess Anna , who had meanwhile been married to Holland . She returned on October 4th:

"Last Night the famous Signora Strada arriv'd from Holland, who is come on purpose to sing next Thursday in a Concert of Musick at the Swan Tavern in Exchange-Alley."

"Yesterday evening the famous Signora Strada from Holland arrived, initially for the purpose of singing on the following Thursday in the Gasthaus Zum Schwan on Börsenallee."

- The London Daily Post , London, October 5, 1736

Handel began on August 14, 1736 with the composition of an opera set in the Byzantine Empire : Giustino and had the draft ready on September 7. But before “filling in” this score, which for him meant adding the middle parts to the sketched “edge” parts ( i.e. treble and bass), he put them down and turned to a new work: Arminio , which he began on September 15th: ”started Sept 15 | Wednesday | 1736 ” , as he notes in his autograph score. The other dates are: “Fine dell 'Atto Primo | Sept 19th 1736. ” - ”Fine dell Atto 2do | Sept. 26. | 1736. “ - “ Fine dell 'Opera | GF Handel Octobr 3 Anno 1736. | The 14th of this completely | everything filled out. ” When he had finished this score, he turned back to Giustino , whom he finished on October 20th. The composition by Berenice then followed in mid-December .

Handel approached the new season with the same strategy that he had already used two years earlier: resumption before Christmas and new works in the new year. But as Benjamin Victor mentioned in a letter to the violinist Matthew Dubourg in Dublin , the signs were bad for him:

“The two opera houses are, neither of them, in a successful way; and it is the confirmed opinion that this winter will compleat your friend Handel's destruction, as far as the loss of his money can destroy him. "

"Neither of the two opera houses is on a successful path and there is a general belief that this winter will bring your friend Handel's ultimate downfall, if financial losses mean his downfall for him."

- Benjamin Victor : Letter to Matthew Dubourg , London, May 1736

At the Covent Garden Theater it was hoped that the festive mood after the wedding of the heir to the throne Friedrich Ludwig of Hanover and Princess Augusta of Saxe-Gotha-Altenburg would not only be maintained by the resumption of Atalanta ordered by the prince , but also by appropriate decorations of other operas. For example, it is reported about Alcina , with which Handel opened the season on November 6th:

“The Box in which their Royal Highnesses sat, was of white Satin, beautifully Ornamented with Festons of Flowers in their proper Colors, and in Front was a flaming Heart, between two Hymeneal Torches, whose different Flames terminated in one Point, and were surmounted with a label, on which were wrote, in Letters of Gold, these Words, MUTUUS ARDOR. "

“The box in which the majesties sat was lined with white silk, beautifully adorned with garlands of flowers in their natural colors, and in front was a flaming heart between two wedding torches, the flames of which met at one end. They were surrounded by an inscription in gold letters; this read: MUTUUS ARDOR. [Shared passion.] "

- The London Daily Post , London, November 8, 1736

To give us an insight into the position of the competition, who opened their season two weeks after Handel, and into Handel's plans for the future, we are sticking to a letter that Mrs. Pendarves , Handel's neighbor on Brook Street and his lifelong admirer, wrote on November 27th wrote to her sister:

“Bunny came from the Haymarket Opera, and supped with me comfortably. They have Farinelli, Merighi, with no sound in her voice, but thundering action - a beauty with no other merit; and one Chimenti, a tolerable good woman with a pretty voice and Montagnana, who roars as usuall With this band of singers and dull Italian operas, such as you almost fall asleep at, they presume to rival Handel - who has Strada, that sings better than ever she did; Gizziello, who is much improved since last year; and Annibali who has the best part of Senesino's voice and Caristini's, with a prodigious fine taste and good actionl […] Mr. Handel has two new operas ready - Erminius and Justino. He was here two or three mornings ago and played to me both the overtures, which are charming. "

“Bunny [Bernard Granville: her brother] came out of the Haymarket Opera House and dined with me. You have Farinelli , Merighi, who has no voice at all and is a rumbling actress - a beauty with no other merit; and a certain Chimenti, a woman of decent ability and with a pretty voice; and Montagnana roaring like always. With this group of singers and their boring Italian operas, they want to compete with Handel, who has the Strada, which sings better than ever, and Gizziello , who has improved a lot since last year; and Annibali, whose voice comes close to the Senesinos; and Caristini with his amazingly good taste and acting skills! [...] Handel has prepared two new operas - Arminio and Giustino. He was here two or three days ago and played both overtures for me; they are magical. "

- Mary Pendarves : Letter to Ann Granville, London, November 27, 1736

On November 20, the wedding Opera was Atalanta resumed and at the end of the performance there was in honor of the present Royal Highnesses "several fine devices in fire-works" ( "some nice fireworks") . The Crown Prince couple also gave their participation to Poro , who followed on December 8th .

In the middle of the work on the Berenice - Giustino had already finished October 20 - the world premiere of Arminio took place on January 12, 1737 in the Covent Garden Theater .

Cast of the premiere:

libretto

The libretto is based on Antonio Salvis Arminio , which was first performed with music by Alessandro Scarlatti . Scarlatti wrote his opera in 1703 as the first of four for the theater of Ferdinando de Medici in Pratolino (near Florence ). Salvi's libretto goes back to the French tragedy Arminius by Jean-Galbert de Campistron from 1684. It was set to music again and again until the middle of the 18th century. a. by Antonio Caldara (1705), Carlo Francesco Pollarolo (1722), Johann Adolph Hasse (1730) and Baldassare Galuppi (1747). As is so often the case, the editor of this libretto remained unnamed and therefore unknown to us. His main focus was on adapting the piece to the available singers. The details of the text are very close to the original. Handel and his librettist took over a total of 21 aria and ensemble texts, including the final chorus, and only had nine new numbers inserted. In addition, they deleted more than a thousand lines of the recitatives (which the English audience used to bore) from the libretto, which inevitably meant that in the remaining 308 recitative lines, unfortunately, many dramatic contexts were lost, and the listeners were expected to between the many wonderful music to figure out the meaning of the story for yourself. So z. B. Sigismondo and sings “Non son semper vane larve” (No. 7) without the audience knowing that he has had a dream in which the events of the future were predicted and explained. In addition, the librettist randomly transferred texts from one character to another: Sigismondo's “Impara a non temer” (No. 29) was actually intended for Ramise and also suits her better. Moreover, his changes in even minor details are seldom an improvement; so he inappropriately adds a few more to a long string of filler words, so that Sigismondo's recitative in the fourth scene of the third act degenerates into one of the silliest moments of the opera seria, at least on paper : “Fermata. Oh padre! Oh amore! Oh sangue! Oh Arminio! Oh kind! Oh Ramise! Oh sorella! Oh affetti! Oh morte! " . Handel, however, is able to discover the true human emotions even in the most artificial, inadequate dramatic texts and then to convey these feelings with a downright astounding psychological directness through music that uses similar clichés over and over again, but is surprisingly appropriate, poignantly beautiful and is often surprisingly original.

Handel's friends, perhaps not surprising, liked the Arminio very much:

“I was this morning regaled with Mr. Handel's new opera called Arminius, it was rehearsed at Covent Garden; I think it is as fine a one as any he has made [...] ”

“I was spoiled this morning with Handel's new opera Arminio, which was being rehearsed in Covent Garden. I think they are just as beautiful as everyone else he has made [...] "

- Mary Pendarves : Letter to Ann Granville, London, January 8, 1737
Domenico Annibali (1705–1779), Anton Raphael Mengs , 1750

In a long letter to his cousin, the philosopher James Harris , the Earl of Shaftesbury gives a comprehensive review of the opera and its voices:

“I was at Arminius last Saturday where I had the pleasure to meet many of our musical friends […] Handel has a much larger orquestre […] than last year & the loss of Castrucio is abundantly supplied by Martini who plays immediately above Clegg where Castrucio us'd to sit. The overture is a very fine one & the fuge I think as far as I can tell at once hearing not unlike to that in Admetus [;] it […] ends with a minute strain [.] The first song is a duet between Annibali & Strada & is but short [,] but like the whole piece in every respect excellent & vastly pleasing. To tell you my real opinion of Annibali I found him widely different from the idea I had conceiv'd of him but it was on the right side that I was mistaken for he prodigiously surpass'd my expectations. His voice it must be confess'd is not so good as some we have had [;] the lower noates of it are very weak & he has not the melowness of Senesino […] but the middle part of it is clear strong & manly & very tunable. [...] he is by far a greater master of music than any man I ever heard sing on a stage. He is as exact in his time as Caporali who plays the base [,] though he sings with the greatest ease imaginable & his closes are superior to them all [...] he comes to them in the most natural rational way [,] always keeps within the air & scarce ever makes two alike throughout the opera. One is never in any pain about him [,] he enters so thoroughly into what he is about both as to action as well as the song. His action indeed is incomparable & he sings with all the passion his voice will admitt. - Upon the whole he pleases me the best of any singer I ever heard without exception. I need but mention Strada's name [,] you know her excellencies [.] She has a charming part. As for Conti he sings I think better than last year […] Martini has a solo upon the hautboy with only Conti singing to it. Indeed Martini exerts himself mightily through the whole opera. Beard has but two [,] though two too many [,] songs for he is absolutely good for nothing: Bertolli's & Negri's songs are pleasing firm compositions & they perform them extremely well. The base has but one song. The opera is rather grave [,] but correct & labor'd to the highest degree & is a favorite one with Handel. The bases & accompaniment if possible is better than usual. But I fear 'twill not be acted very long. The town dont much admire it. […] P: S Mr Handel has just this minute been with me [;] he is in high spirits and tells me he has now ready & compleated two more operas & can have something else this winter besides if there is occasion. "

“I was at the Arminius last Saturday, where I had the pleasure of meeting many of our musical friends. […] Mr. Handel now has a much larger orchestra […] than last year and the loss of Castrucio has been more than compensated for by Martini, who immediately played in front of Clegg , who was normally supposed to be in Castrucio's seat. The overture is very fine and the fugue, as far as I can hear it from the one, not dissimilar to that in Admeto ; it [...] ends with a kind of minuet. The first song is a short duet between Annibali and the Strada, but like the whole piece, excellent and very beautiful in every way. To tell you my real opinion about Annibali: I had a completely different impression of him than I had previously imagined. Fortunately, I was wrong and was pleasantly surprised, because it far exceeded my expectations. His voice, I must admit, isn't as good as some we've had; the low notes are very weak and it doesn't have the singing quality of a Senesino […] but its middle register is clear, strong, masculine and very supple. [...] He is a far greater master of his subject than any man I've ever heard sing on stage. He was perfectly with Caporali , who played bass, when he sang all the finals with the greatest of ease and admirably coordinated. [...] He did this in a most natural and intelligent way and hardly twice in the arias of the opera. You never get angry with him and both his stage action and his singing are convincing. His acting skills are truly incomparable and he sings with all the passion that his voice gives. - To sum up: he is the best singer I have ever heard without exception. I also have to mention Strada's name, you know her merits. She has a lovely game. As well as Conti, who I think sings better than last year […] Martini has a solo on the oboe and only Conti sings with it. In fact, Martini has a lot to do throughout the opera. John Beard only has two arias, but there are two too many: they are good for absolutely nothing. Bertolli's and Negri's chants are pleasingly solid compositions that they perform wonderfully. The bass player only has one aria. The opera is rather melancholy, but worked very precisely and one of Handel's best. The bass and accompaniment are better than usual. But I'm afraid it won't be played very long. The city doesn't appreciate them. […] PS Mr. Handel was with me just then, he is in high spirits and told me that he has completed two more operas and can do more this winter if the opportunity arises. "

- Earl of Shaftesbury : Letter to James Harris , London, January 18, 1737

Shaftesbury was right: after only six performances, the last of which was on February 12th, the Arminio could not be seen on stage for almost 200 years and neither this nor the subsequent Giustino , nor the skills of Conti or the new alto were able to give Handel save. Even the "modernization" of his style, which Burney always so readily discovered in his works, was only expressed in the use of

"[...] more bases and accompaniments in iterated notes, [...] than in any preceding work."

"[...] more basses and accompaniments in repetitive notes [...] than in any of his earlier works."

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

More ingenuity was shown at the aristocratic opera: when it was discovered that Farinelli's magic was gradually fading, comical interludes were added between the individual acts of the opera seria . II Giocatore , shown in the pauses between acts by Johann Adolph Hasse's Siroe on New Year's Day 1737, was the first Italian comic opera to be seen by the London audience. The royal family was entirely in attendance, with the exception of the king himself, who was caught in a lull off the coast of Holland. But even such emergency measures could no longer lure the audience, and Colley Cibber wrote:

"[...] we have seen [...] even Farinelli singing to an audience of five and thirty pounds."

"[...] we have seen [...] that even Farinelli sang in front of an audience of 35 pounds."

- Colley Cibber : An Apology for the Life of Mr. Colley Cibber , London 1740

It was not until February 23, 1935, under the title Hermann und Thusnelda , that the piece was performed again in Leipzig on the occasion of the Handel celebration for Handel's 250th birthday in a German version by Max Seiffert and Hans Joachim Moser and under the musical direction of Paul Schmitz (conductor) . The first re-performance of the piece in the original language and historical performance was seen in Nîmes (Théatre l'Odeón) on May 6, 1997 with the Gradiva Ensemble under the direction of Alain Zaepffel and Hiro Kurosaki .

music

Depiction of the Varus Battle , Monumenta Paderbornensia, 1672

Handel's opera Arminio had an unfortunate history. It was composed towards the end of his operatic career when Handel, along with other age problems - in the eighteenth century no one pretended that fifty-one was "no age" - was confronted with the twofold demon of declining health and steadily declining popularity with London audiences. After it was hastily created, it disappeared just as hastily. Music researchers and other commentators, from the time of Charles Burney in the second half of the 18th century to the present day, have dismissed opera as uninteresting or unimportant - in many cases without hearing it or looking closely at the music. While noting that it was hastily written, some have forgotten that there is no reason to complain about the even greater haste with which Handel composed an even longer work a few years later - the oratorio The Messiah . Hardly anything can be objected to the opinion that this famous oratorio is a divine inspiration - not even against the fact that it has a good text! But I think it can be proven that a comparatively high degree of musical skill, competence and, in some places, even extraordinary ingenuity was applied to Arminio's composition , although the work unfortunately has a very inadequate textbook.

A hallmark of a great dramatic composer is the ability to create a comfortable and compelling structure in which the dramatic tension does not let up and interest in the music never wanes. After the fascinating rarity of the opening duet ( “Il fuggir, cara mia vita” No. 1) for the protagonist couple, Handel outlines his characters and their interaction in the first act with a series of relatively short arias, mostly composed only of unison violins and basso continuo be accompanied and increase to full length and full cast for the act ending left to Sigismondo. The second act does not have so many arias, but rather longer and more varied arias, especially for the title hero, and even provides an aria for the confused Ramise that borders on the comical and hysterical: ( "Niente spero, tutto credo" No. . 16). In the third act, Handel pulls out all the stops by varying and deepening his figures and at the same time experimenting with some highly unusual shapes. The act begins with a “sinfonia accompagnata” in the form of an impressive but somber foreboding funeral march that unexpectedly turns into a recitative for Arminio: “Fier teatro di morte” (No. 20), where the dotted rhythms of the opening are now used to interrupt the hero's exclamations. Later in the act, Handel continues his exploration of mixed musical forms by interrupting Sigismondo's aria "II sangue al cor favella" (No. 25) with the recitative exclamation "Salvarlo?" And converting the melodic aria accompaniment into a typical recitative accompaniment with repeated notes . Although this remarkable number falls into the same category as many other Handel attempts in later life to avoid the standardized da capo aria , it reveals less an effort to be "modern" than the continued, incessant exploration of an active one and brilliant musical mind. What perhaps stimulated Handel's imagination to compose this completely unpredictable aria was probably the text passage "... né so quel che sarà." ("... I still know what will happen.")

In any case, it was the text about fate and its changeability that inspired the unique duet for Tusnelda and Ramise ( "Quando più minaccia il Cielo" , No. 24). The oboists are "transformed" into recorder players and back again, and the six bars that are necessary to swap their recorders for oboes again offer Handel the opportunity to accomplish a surprising metamorphosis of the voices and their accompaniment before the final Adagio . Following this, the expected conventional return of the serious introductory ritornello is replaced by its skilful transformation into a more voluptuous, sensual parody of itself. Perhaps the idea of ​​the “looming sky” prompted Handel to recall the strict Lutheran chorals of his youth (the relapse into high baroque severity reminds of Mozart's armed men in the Magic Flute ), while the “vicissitudes of fate” made him think of his former times luxurious, cosmopolitan living conditions. And yet the piece remains in its subdued, melancholy key - "Vanitas vanitatum!", Or in the words of a German hymn by Michael Franck : "Oh how fleeting, oh how void!" Despite all its intellectual symbolism, the duet somehow manages also to be a magically moving piece of music. Like the duet, the final chorus remains “A capir tante dolcezze” (No. 32) in G minor, while its text announces the conventional “happy ending”.

Did Handel want us to think about the injustice of the death of Varo and the survival of the villain Segeste - Varo is portrayed as an admirable man who behaves honorably and can be heard for the last time when he sings his extremely charming aria "Mira il Ciel, vedrai d'Alcide ” (No. 22, with horns and oboes)? Was Handel in a vanitas mood? Or did he just instinctively think of some piece that stuck in his memory towards G minor? In any case, the intricacies of this choir have in all likelihood passed its audience by and may have contributed to their lack of enthusiasm for the opera as a whole.

Although the English public preferred oratorios more and more during this period, Handel's “first love” - opera - clearly still occupied his heart and mind. This is evident in the autograph, with its signs of feverish inspiration, as well as the haste to write down musical thoughts before they disappear, and sometimes to change and improve them while they are being written. The first idea may be appealing, but the finished, corrected version is often infinitely more appealing. What looks like a first draft is also the finished score - hard to believe, but how else could Handel have composed, revised and written down so much music in such a short time?

The part of Tullio in the autograph is written for bass with the exception of the aria "Non deve Roman petto" (No. 2), which is notated in the alto clef . But since Handel had no second bass player besides Henry Theodore Reinhold, he was probably forced to cast an alto for the role.

Success and criticism

“[...] Handel's return to the military heroic type of libretto, last addressed in Sosarme, after his fruitful incursions into the worlds of Ariosto and classical myth in the five intervening operas, elicited a weak response. Old stock devices like the business with the sword and cup of poison in Act III (compare Floridante, Tolomeo and Lotario) no longer inspired exciting music. Much of the score is reminiscent of things he had said better elsewhere. In most of Act I and the latter part of Act III he seems merely to be going through the motions. This is reflected in the comparative weakness of the characterization, the element in which so many of his operas from Agrippina to Alcina had been supreme; and that must be put down in part to his rough treatment of the libretto. As in Berenice and for the same reason, instead of haunting our memory, the characters come only fitfully to life because they are allowed so little opportunity to explain their actions. Many of their arias, especially the more virtuoso pieces, have a tenuous connection with the plot. Only at the end of Act II and the start of Act III does Handel approach the height of his powers. "

“[...] Handel's return to the military and heroic type of libretto, as most recently in Sosarme [1732], after the fruitful excursions into the world of Ariosto and classical mythology in the five intervening operas, had little response. Reaching into the clothes box of waving the sword and the poison cup (as in Floridante , Tolomeo and Lotario ) no longer inspired him to enjoy exciting music. Much of the score is reminiscent of things that he had expressed better elsewhere. Mainly in the first and the final part of the third act he only seems to work through the plot and the weakness of characterization that characterizes so many of his operas from Agrippina to Alcina comes to light here, and this must in part be attributed to his rough handling of the libretto. As [later] in Berenice and there for the same reason, one does not understand the course of action, because the people only become living beings sporadically and only rarely get opportunities to explain the motivation of their actions. Many of the arias, especially the more virtuoso pieces, have only a weak connection to the action. Only at the end of the second and the beginning of the third act does Handel approach the height of his ability. "

- Winton Dean : Handel's Operas, 1726–1741. , London 2006

orchestra

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

Discography

  • Virgin Veritas 5 45621 2 (2000): Vivica Genaux (Arminio), Geraldine McGreevy (Tusnelda), Dominique Labelle (Sigismondo), Manuela Custer (Ramise), Luigi Petroni (Varo), Furio Zanasi (Segeste) Sytze Buwalda (Tullio)
Il complesso barocco ; Dir. Alan Curtis (146 min)

literature

swell

Web links

Commons : Arminio  - collection of images, videos and audio files

Individual evidence

  1. ^ Editing management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Ed.): Händel-Handbuch: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 267
  2. ↑ a b Edition management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Hrsg.): Handel manual: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 269
  3. ↑ a b Edition management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Ed.): Händel-Handbuch: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 270
  4. ↑ a b c Friedrich Chrysander : GF Handel , second volume, Breitkopf & Härtel , Leipzig 1860, p. 394 ff.
  5. ^ Editing management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Hrsg.): Handel manual: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 266
  6. ↑ a b c d e 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 , pp. 235 ff.
  7. ^ Editing management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Ed.): Händel-Handbuch: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 271
  8. ^ Charles Burney : A general history of music: ... Vol. 4 , London 1789, Reprint of the Cambridge Library Collection, 2010, ISBN 978-1-108-01642-1 , p. 399
  9. ^ Silke Leopold : Handel. The operas. , Bärenreiter-Verlag , Kassel 2009, ISBN 978-3-7618-1991-3 , p. 223 ff.
  10. ^ A b Bernd Baselt : Thematic-systematic directory. Stage works. , in: Walter Eisen (Ed.): Händel-Handbuch: Volume 1 , Deutscher Verlag für Musik , Leipzig 1978, ISBN 3-7618-0610-8 , Unchanged reprint, Kassel 2008, ISBN 978-3-7618-0610-4 , P. 439
  11. ↑ Donna Leon : Trade. Arminio , Virgin veritas 5454612, London 2001, p. 13
  12. ↑ a b c d e f Alan Curtis : Handel. Arminio , from the English by Anne Steeb and Bernd Müller, Virgin veritas 5454612, London 2001, p. 16ff.
  13. ^ Editing management of the Halle Handel Edition : Documents on life and work. , in: Walter Eisen (Ed.): Handel Handbook: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 274
  14. ↑ Commerce Reference Database . ichriss.ccarh.org. Retrieved February 16, 2013.
  15. ^ Charles Burney : A general history of music: ... Vol. 4 , London 1789, reprint of the Cambridge Library Collection, 2010, ISBN 978-1-108-01642-1 , p. 402
  16. ^ Colley Cibber : An Apology for the Life of Mr. Colley Cibber, Volume II , London 1740, Robert W. Lowe Edition, London 1889, Reprint: AMS Press, New York 1966, p. 88]
  17. ↑ Colley Cibber: An Apology… . Google Books. Retrieved December 21, 2015.
  18. ↑ Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 . P. 354