Berenice (opera)

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Work data
Original title: Berenice, Regina di Egitto
Berenice by handel (walsh, london) cover.jpg
Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Antonio Salvi , Berenice, regina di Egitto (1709)
Premiere: May 18, 1737
Place of premiere: Theater Royal, Covent Garden , London
Playing time: 2 ¾ hours
Place and time of the action: Alexandria , 80 BC Chr.
people
  • Berenice , Queen of Egypt (Berenike III), in love with Demetrio ( soprano )
  • Alessandro , son of Tolomeo X. Alessandro I , dedicated to Berenice (soprano)
  • Demetrio, a prince in love with Selene (alto)
  • Selene, sister of Berenice ( old )
  • Arsace, an ally lord, loves Selene (Alt)
  • Fabio, Roman ambassador ( tenor )
  • Aristobolo, Councilor Berenices, Captain ( bass )
  • The queen's court, dignitaries, Roman embassies, warriors, guards, servants, slaves, people
Map of Ancient Alexandria

Berenice, Regina di Egitto ( HWV 38) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Händel and, alongside Arminio and Giustino, one of the three operas that Handel composed within six months for the 1736/37 season.

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 new compositions for the following season and first tackled Giustino . In the middle of this work he wrote Arminio , which he obviously wanted to prefer, only then did he finish Giustino . However, before the premiere of this opera in January, Handel began with the third in the league: Berenice . His notes in the autograph read: “Beginning December 18th, 1736.” - “Fine dell Atto primo | Decembr 27. | 1736. " - " Fine dell 'Atto 2do Jan 7. 1737 | GF Handel. ” - “ Fine dell 'Opera Berenice | GF Handel January 18. 1737. | to be filled in ended January 27, 1737. "

Handel had approached the new season with the same strategy as the two years before: resumption before Christmas and new works in the new year. All three operas were premiered in the first half of 1737, first Arminio on January 12th, followed by Giustino on February 16th. After three performances of the latter had taken place, Lent came, which limited the theater evenings. Extremely handicapped by this, Handel announced that the operas should also be played during Lent, on Wednesdays and Fridays, and continued with other performances by Giustino . He chose these days in order not to meet the “ Aristocratic Opera ”, and he could also rent the theater on these days for £ 33 cheaper. It was a severe blow for him when these opera performances were also banned. Now he was forced to concentrate on oratorio works:

“We hear, since Operas have been forbidden being performed at the Theater in Covent Garden on the Wednesdays and Fridays in Lent, Mr. Handel is preparing Dryden's Ode of Alexander's Feast, the Oratorios of Esther and Deborah, with several new Concertos for the Organ and other instruments; Also an Entertainment of Musick, called II Trionfo del Tempo e della Verita, which Performances will be brought on the Stage and varied every Week. "

“As we learn, after opera performances have been banned on Wednesdays and Fridays during Lent, Mr. Handel is preparing Dryden's Ode from the Alexander Festival , the oratorios Esther and Deborah with various new concerts for the organ and other instruments, and another new musical entertainment called II trionfo del Tempo e della Verità ; these works are to be performed alternately during these weeks. "

- The London Daily Post , London, March 11, 1737

In mid-April 1737, just a month before the planned premiere of Berenice , Handel suffered a catastrophic collapse as a result of his physical and mental tension: a stroke ! During these days he wanted to lead the pasticcio Didone abbandonata, which he had compiled and edited after Pietro Metastasio 's debut work of the same name with music by Leonardo Vinci , Johann Adolf Hasse , Geminiano Giacomelli and Antonio Vivaldi , but the paralysis of his right arm and the mental defilements had to lead possibly Handel's second harpsichordist Johann Christoph Schmidt jun. take over the evening management. At that point it was completely unclear whether this stroke of fate would end his work as a composer and conductor forever. In any case, his friends and followers were by no means sure, as the scholar James Harris wrote to his cousin, the Earl of Shaftesbury :

"Y r Lord p’s information concerning M r Handel's Disorder was y e first I received - I can assure Y r Lord p it gave me no Small Concern - when y e Fate of Harmony depends upon a Single Life, the Lovers of Harmony may be well allowed to be Sollicitous. I heartily regrett y e thought of losing any of y e executive part of his meritt, but this I can gladly compound for, when we are assured of the Inventive, for tis this which properly constitutes y e Artist, & Separates Him from y e Multitude. It is certainly an Evidence of great Strength of Constitution to be so Soon getting rid of So great a Shock. A weaker Body would perhaps have hardly born y e Violence of Medicines, w ch operate So quickly. "

“Your lordship's news of Handel's illness was the first to reach me - I can assure you that I am very concerned about it. If the fate of harmony depends on a single life, one must forgive the friends of harmony for the excitement. I feel it is the deepest loss when we lose him as a performing musician, but I can easily come to terms with it as long as his ingenuity remains with us, because it is what defines the artist and sets him apart from the crowd. It is certainly a sign of great strength and endurance that he overcame such a severe blow so quickly. A weaker body would hardly have been able to cope with the powerful drugs that work so quickly. "

- James Harris : Letter to the Earl of Shaftesbury , London, May 5, 1737

Apparently, he still had considerable reserves of strength that he could mobilize with his iron will, and so the Daily Post reported two and a half weeks after the stroke:

“Mr. Handel, who has been some time indisposed with the rheumatism, is in so fair a way of recovery, that it is hoped he will be able to accompany the opera of Justin on Wednesday next, the 4th of May; at which time we hear their Majesties will honor that opera with their presence. "

“Mr. Handel, who had been suffering from rheumatism for some time, is on the mend, so one can hope that he will be able to conduct the Giustino opera next Wednesday, May 4th . According to reports, Your Majesties will honor this opera performance with their presence. "

- The London Daily Post , London, April 30, 1737

It is unlikely that this hope would be fulfilled and that Handel would lead the performances again at the beginning of May. In his Memoirs of Handel (1760) the Earl of Shaftesbury reported:

“Great fatigue and disappointment, affected him so much, that he was this Spring (1737) struck with the palsy, which took entirely away, the use of 4 fingers of his right hand; and totally disabled him from Playing: And when the heats of the Summer 1737 came on, the Disorder seemed at times to affect his understanding. "

“Great fatigue and disappointment burdened him so much that he was paralyzed in the spring that completely deprived him of the mobility of four fingers on his right hand and made it impossible for him to make music. And when the hot days of summer 1737 approached, the disease sometimes seemed to confuse his mind. "

- Earl of Shaftesbury : Memoirs of Handel , London 1760

The Earl of Shaftesbury, who had attended a rehearsal on May 12, 1737, wrote in a letter in reply to his cousin:

“I was at the rehearsal of the charming Berenice this morning, when I received an inexpressible delight. The overture is excellent [,] a good fuge & after it a pleasing air in the taste of that at the end of the overture in Ariadne, with a sprightly air after it, which concludes this overture; the first act is mostly in the agreable strain, full of exquisite genteel airs & quite new. The second is more in the great taste & may […] properly be call'd sublime. […] The third act opens with a short but good prelude, & this act is a mixture both of great & pleasing. [...] Mr Handel is better though not well enough to play the harpsichord himself [,] which young Smith is to do for him. "

“This morning I was at the rehearsal of the lovely Berenice , which gave me incredible pleasure. The overture is excellent, a good fugue and then a lovely piece, something like the one at the end of the overture in Arianna in Creta , where a lively melody closes this overture; the first act is kept in a pleasing style throughout, full of exquisitely elegant arias and quite new. The second act is more indebted to great taste and can rightly be called sublime. […] The third act begins with a short but good foreplay. This act is a mix of the grand and the pleasing style. […] Handel is doing better, but not well enough to play the harpsichord himself, the young Smith [Schmidt jun.] Should do it for him. "

- Earl of Shaftesbury : Letter to James Harris , London, May 12, 1737

Finally, on May 18, 1737, the premiere of Berenice was at the Covent Garden Theater in the presence of the royal family and it appears that this opera was Handel's only one whose world premiere he did not direct; Schmidt must have done the same. In fact, it is even possible that the composer did not play a leading role in any of the four Berenice performances .

Cast of the premiere

libretto

Handel's text by Berenice is based on a libretto by Antonio Salvi . His Berenice, regina di Egitto was first performed in October 1709 with music by Giacomo Antonio Perti in the theater of Ferdinando de Medici in Pratolino (near Florence ). Under the original subtitle Le gare di politica e d'amore (“The Contest between Politics and Love”), this textbook was published again in Venice (1711) with music by Giovanni Maria Ruggieri and in the same place again in 1734 with music by Francesco Araia (with the original title) brought to the stage. Handel had already met Salvi personally in Florence and Rome in 1707/08 , was also well informed later about his libretto poems and had already used his textbooks several times: Rodelinda (1725), Scipione (1726), Lotario (1729), Sosarme (1732) ), Ariodante (1735) and three months earlier Arminio . We do not know who arranged the text of Berenice's opera , he certainly left a torso: one improbable situation follows another and it is very difficult to find out whether the people are lying with their statements or are telling the truth. The main reason for this is the fact that more than 60% of the original recitative texts, that is more than 600 lines, have been deleted!

Apart from his health problems, the summer of 1737 was an unpleasant period for Handel. The interest of the London audience in Italian opera died down and the era of the Third Opera Academy at Covent Garden Theater came to an end. His debts grew and he could only pay the singers after a certain period of time. However, fate also had a consolation at hand: the competing opposing party, the Opera of the Nobility (“Noble Opera ”) also had to close its gates in the Haymarket Theater . On June 11th, the financial burdens for the aristocratic opera were no longer bearable, and the Crown Prince was no longer at their side. The trigger was the illness of star castrato Farinelli , which led to the cancellation of the planned performance of Sabrina (which was based on John Milton's Comus ; text and music had been revised by Paolo Antonio Rolli ) on June 14th. Farinelli left for Italy and never set foot on British soil again. The composer and the musical head of the company, Nicola Porpora , soon followed suit.

After the last performance of the season, the Alexander Festival on June 25th, which Handel presumably led again himself, probably using all his strength, his friends decided that he had now taken enough and urged him to visit the therapeutic baths of Aix-la-Chapelle ( Aachen ) to visit. He went there for six weeks in September and came back recovered and energized. Berenice was the last of Handel's operas to premiere at the Covent Garden Theater. For the next season he will return to his old parent company, the King's Theater on Haymarket, and combine his opera company with the remains of the Opera of the Nobility, in a last-ditch effort to establish Italian opera in London after all. Four more operas were written by 1741, namely Faramondo , Xerxes , Imeneo and Deidamia , before he finally said goodbye to opera composition.

Alongside Arminio and Giustino, Berenice is not counted among the outstanding masterpieces of Handel in the relevant literature. The writing of three operas within six months and the resulting exhaustion and revision of Handel are given as reasons for this. As far as the dramaturgy is concerned, one can still understand such a statement, because the plot is limited to the typical entanglements of the opera seria , which always arise when people only talk about one another and not one another. But when it comes to the music and the number of characterful and beautiful arias, this attitude cannot be understood. The music is cheerful, full of ideas and lively. Nevertheless, and also in the face of the fact that Handel confirmed to his singers, especially his prima donna Anna Strada, "brilliant brilliance and virtuosity", the sociological, cultural and individual circumstances decided that Berenice only three times after the premiere, namely on 21 . and May 25, as well as June 15, 1737 in London.

Berenice was then only performed in February 1743 in Braunschweig with the title Berenice Queen in Egypt in a musical arrangement under the direction of Georg Caspar Schürmann . While the arias were sung in the original Italian version, Schürmann composed the recitatives and the opening chorus on German text for these performances. The first revival of the opera in modern times took place on April 26, 1985 at Keele University (Great Britain) in an English text version by Alan Kitching. George Pratt was the musical director. The first re-performance of the piece in the original language and historical performance was seen in Paris at the Théâtre des Champs-Elysées on November 21, 2009 with Il complesso barocco under the direction of Alan Curtis .

action

Historical and literary background

The historical background of the plot is the power struggle between the Roman dictator Lucius Cornelius Sulla and Mithridates VI. , King of Pontus , for supremacy in Asia Minor and the Eastern Mediterranean. Both were particularly interested in rich Egypt. The title character of the libretto, Cleopatra Berenike III, is a significant example of the confused family relationships of the Ptolemies with their sibling, fathers and uncle marriages between people who mostly have the same names. Born as the daughter of Ptolemy IX. Soter II she was initially married to her uncle Ptolemy X. Alexander I , who in 88 BC. Was killed in a sea battle near Cyprus . His son (presumably) from another marriage named Ptolemy XI. Alexander II , who lived on the Greek island of Kos , was born in 88 BC. By Mithridates VI. robbed, but fled to Rome four years later and received a friendly welcome there. Since the death of her husband, Berenike III ruled. together with her father about Egypt, after his death in the year 80 BC. Then half a year as sole ruler. Rome, which was dependent on Egyptian grain deliveries, had been able to gain ever greater influence in the Ptolemaic Empire, which had been weakened by internal unrest. It was therefore of great importance for the Roman dictator Sulla to bring a pro-Roman king to the throne of Egypt. Ptolemy XI, who lived in Rome. seemed to be the suitable candidate for this. That is why he was born in 80 BC. With active Roman help, Berenike was enthroned, following the Ptolemaic custom, by marrying her stepson, who was perhaps even her biological son (the traditional sources remain unclear in this regard). The marriage was only supposed to last 19 days; for unknown reasons Ptolemy XI. Murder Berenike. This act sparked a wave of indignation and ultimately a popular uprising within the Alexandrian population, because Berenike was very popular with the people. In the course of these unrest Ptolemy XI. killed by an angry crowd. His successor was Ptolemy XII. Theos Philopator Philadelphos Neos Dionysus . The libretto names Appian's Roman history, i.e. the Rhomaika of Appianos of Alexandria from around 150 AD, as the source.

The characters appearing or named in the plot have a connection to those of Handel's earlier operas: the Roman dictator Sulla is the hero of the opera Lucio Cornelio Silla (1713), while Berenice is the daughter of Tolomeo and the local Alessandro is the son of Alessandro in Tolomeo (1728) is.

“ARGOMENTO
Berenice, daughter of Ptolemy Sotor, the second of this name, was proclaimed queen by the Alexandriem. Ptolemy died without a male offspring. At that time, Mithridates, King of Pontus, was Rome's most formidable enemy. Sylla, who was then at the head of the Roman Republic, at least feared that Berenice would take someone from Mithridates' allies as her husband; whoever combined the arms of Pontus with those of Egypt was to become even more terrible for the republic of Rome. He sent Alexander, the son of Ptolemy Alexander, who was carried away after the death of his father and raised by the Romans, with an envoy to Berenice. Other similar occurrences were added to this historical fact, as will be seen in the drama. "

- Foreword to the text booklet by Thomas Wood, London 1737

first act

Berenice and Selene, dressing ceremony, network of papyrus, Free German Academy of Sciences and Arts eV Bonn

Throne room of the Royal Palace in Alexandria. Queen Berenice has entered the hall with her court, including her councilor Aristobolo, and takes a seat on the throne. She asks Aristobolo to admit the Roman ambassador. When Fabio enters, he immediately praises the queen's beauty and points out the friendly bond that has long united the two states. Berenice is delighted with the greetings from the Roman dictator Silla and the Senate of Rome and says accordingly: "Nò, che servire altriu" (No. 1). Fabio now adds that one would like to see it in Rome if the Queen of Egypt could warm up to a partner on the throne and immediately pushes the son of Tolomeo Alessandro, also called Alessandro, who traveled with him, to the front. Berenice rejects the suggestion, pointing out that she will choose her partners herself. After a short skirmish, she leaves with the whole court.

With the visitors who remained in the hall, a conversation developed from astonishment and restlessness. Ambassador Fabio is of the opinion that Berenice must obey Rome, Alessandro admits that even the rejection of himself by the queen cannot resolve the magic that has awakened in him. Fabio advises reason and thinks that ultimately all points will be asserted: “Vedi l'ape ch'ingegnosa” (No. 2). Then, except for Alessandro, all other visitors leave.

Alessandro is alone and shows in a self-talk that only love, but not the Roman Senate and the dictator Silla, can solve his problem: “Che sarà quando amante accarezza” (No. 3).

Made the Selene, which leads directly into a garden. In a conversation the queen's sister has with the prince Demetrio, he tells her that he is allied with the king Mitridate, the greatest enemy of Silla. In his private life, he advises Selene to give up all sighing, because even if Berenice envy her love for him, he is by no means willing to do without her. When Demetrio goes a step further and claims that Mitridate wants to use his help to remove Berenice from the throne and enthrone her as his successor, Selene is dismayed and shows fear of the consequences. Before he leaves, however, Demetrio can reassure her: “Nò, soffrir non può” (No. 4).

Aristobolo is excitedly paying his respects to Selene; he asks about Demetrio and claims that Rome had made it clear that Demetrio would have to die if Berenice rejected Alessandro's advertisement and that he would therefore warn him. Berenice's infatuation with Demetrio is known at court and it is decided that Demetrio must die because he stands in Rome's way. Selene is worried about this news and leaves, distraught: "Gelo, avvampo, con sidero" (No. 5).

Gallery with seating. Berenice is alone and ponders the political as well as her personal situation. Its aim is to thwart Rome's plans in any case. At her command, Prince Arsace is admitted and she asks suddenly whether he has ever loved or is currently in love. He hesitantly admits that he loves a woman who is beyond his reach. When the queen asked who it was, Arsace, again hesitantly, admits that it was the queen's sister. Inwardly troubled and out of understandable self-interest, Berenice advises the prince to publicly confess his love and even promises him her royal support.

After he leaves, Selene comes into the gallery and Berenice tells the sister that a storm is raging in her chest, caused by politics and love. Then she asks Selene for help: she has to - she lies - marry a friend of hers, then Rome would be satisfied. And she goes on to say that this prince has already spoken to her and asked for the royal sister's hand. The assumption that Selene is dealing with Demetrio makes her happy and excited to say yes to this marriage. With a wink from Berenice to the guards, Arsace comes back into the gallery and when the queen introduces this prince to her sister as the applicant, a world collapses for Selene. Berenice, however, presents Selene's confusion to Arsace as a sign of love: "Dice amor, quel bel vermiglio" (No. 7)

Berenice left and left Selene alone with Arsace. He confesses his love for her and begs almost imploringly to be allowed to call her his. While he presses her more and more with words, Selene shifts to the tactic of restraint; so she demands proof of his love from him. He replies with a parable aria : "Senza nudrice alcuna, qual pargoletto in cuna, mi stava amor nel sen" (No. 8) ("A baby who languishes for the breast never has rest without its nurse.") And he adds in typical baroque imagery: his love for her will "... il pasce rotte l'anguste fasce gigante amor divien." ("... grow with every food intake.")

Royal Palace courtyard. Alessandro is alone; he is plagued by the idea that Berenice is too busy with Demetrio and that he is left out. Suddenly the excited crowd rushed into the courtyard, chasing Demetrio. Since the courtyard offers no further escape routes, Demetrio faces the angry crowd. Alessandro takes Demetrio's brave demeanor as a reason to stand by him and they manage to scare away the unarmed intruders with drawn swords. This gives him respect from everyone, including Berenice, who claims to be knightly self-evident to Alessandro for his actions: "Quell 'oggetto, ch'e caro" (No. 9). The first act ends with a duet between Demetrio and Berenice ( "Se il mio amor / Se il tuo amor" , No. 10), which initially pulled him aside to assure him that the insurgents, probably controlled from Rome, would be found and horribly punished; only then do they both express themselves to the effect that it is worth common vengeance if love for both should be a crime.

Second act

Lustgarten in the Royal Palace, near Berenice's living quarters. Demetrio is alone on the scene and raves about the beautiful Berenice: “Se non ho l'idol mio” (No. 11). She comes along and calls him "my life" and wishes for the day when she should join her hands. But when he then considers the royal office to be too high for himself, she suddenly calls him a coward and an unworthy lover. Demetrio is also angry, but can hold back and decides to learn to be hypocritical.

Ambassador Fabio comes and brings the news that Rome has decided to marry Alessandro to Selene because Berenice is out of reach for him. Demetrio expresses himself in horror, but is rebuked by Fabio: Rome does not want to hear his statement, but the answer of the queen. She declines because Selene already has Prince Arsace as her bridegroom. But Fabio thinks he sees an insidious game here and becomes rude; When Berenice threatens war, he takes the initiative and declares war on the Egyptians in the name of Rome; then he leaves triumphantly: “Guerra, e pace” (No. 12).

Demetrio immediately offers to help the queen, but Berenice does not accept this offer. She vacillates and is unable to distinguish between politics and love : “Semper dolce, ed amorose” (No. 13). When she has left the scene, Demetrio ponders loyalty and love in an Accompagnato recitative ( “Selene, infida ...” , No. 14) and, before he leaves, ventures into an aria of revenge : “Sù, Megera , Tesifone, Aletto! ” (No. 15). Both arias can only be understood if the viewer realizes that Demetrio is assuming that Selene is engaged to Arsace.

Courtyard in the palace . Alessandro and Arsace meet. Both recognize each other as rivals, but assume different people: Alessandro thinks of Berenice, while Arsace thinks Selene. So there are baseless suspicions here. When Aristobolo arrives, the topic of conversation changes: they talk about the upcoming armed conflict and Alessandro hears for the first time that Rome has declared war on the Egyptians. His reaction suggests a renunciation of Berenice: “La bella mano” (No. 17). He walks away resolutely. And Arsace, too, has to make a decision because of the political situation: either for Selene or for the war glory in the fight against Rome. His departure shows that he has decided to take part in the war: “Amore contro amor combatte nel mio cor” (No. 18). The aristobolo, who remained alone, said in a self-talk that politics was a single mistake and stood in the way of decent will: “Senza te sarebbe il mondo” (No. 19).

Selene's room. Demetrio comes into the room with drawn sword and asks about Selene's husband. She now learns that Arsace is meant and tries with good words to calm Demetrio down. But he doesn't want to be calmed down, calls her ungrateful and unfaithful. Unnoticed by the two of them, Berenice has joined them and hears that Demetrio loves Selene, not her, and is only on their side because of Rome's threat of war. Selene, in turn, can prevent Demetrio from giving himself the fatal blow at the last second. Then Berenice comes forward and demands the sword; she is affected and angry at the same time and expresses herself thirsty for revenge in her aria “Traditore, così vago di sembiante” (No. 20). Then she leaves the scene.

A conversation ensues between Selene and Demetrio and the reproachful tone becomes weaker and weaker; Demetrio learns that Arsace is not Selene's groom. They forgive each other for their malicious remarks. When they are about to leave, Berenice and Arsace meet them. The Queen demands that her sister immediately consent to marry Arsace. Now, however, the prince rejects Berenice's request and justifies this with the danger of war, in which he wants to intervene by fighting on behalf of Egypt. He assigns all claims in favor of Alessandro.

Fabio and Alessandro join them; Fabio now demands that Arsace should publicly announce his renunciation of Selene. Selene rejects this interference on the grounds that she still decides on her own future. But Alessandro also renounces and says that Rome's wish is by no means an order. Fabio is offended and leaves. In return, Berenice now orders Demetrio to be chained up as the alleged cause of all evil. Demetrio seems to be indifferent because he emphasizes that even as a prisoner he will not betray his love for Selene: "Sì, tra i ceppi" (No. 22)

The last scene of the second act is confusing: Selene complains to Arsace about the breach of his promise in favor of his entry for the peace of Egypt. She does not describe the prince as worthy of her love, knowing that she did not want him as a husband at all: "Si poco è forte" (No. 23).

Third act

Berenice's apartment in the palace. The queen orders the guard to fetch Demetrio. In the meantime Aristobolo appears and tells Berenice the contents of a letter addressed to Demetrio, which he intercepted. Not only the sender, King Mitridate of Pontus, arouses astonishment, but also its content: The adversary of Rome (and Sillas) offers Demetrio his help to "tame" Queen Berenice and then to bring Selene to the throne of Egypt and to wed him to Selene.

The contents of the letter have hardly been mentally processed when the guard comes with Demetrio. On the one hand, he expresses his unshakable love for Selene and, on the other hand, his fearlessness of Berenice. She ignores the hurtful words and orders Demetrio to be released without giving any reason. Aristobolo gives Demetrio his sword back. Berenice said casually that if he didn't want to share bed and throne with her, then he should love whoever he wanted. Then, without a word, she hands him Mitridate's letter, calls him a traitor and has him chained again and taken away again: “Per si bella cagion” (No. 24)

The queen orders her councilor to immediately convene a popular assembly in the temple. There may everyone see how the goddess of the stars, Astrea , triumphs over love. Aristobolo goes to carry out the order.

Ambassador Fabio comes to say goodbye as he will be returning to Rome. However, Berenice asks him to stay and then surprisingly gives him the royal seal of Egypt. She said that she wanted to submit her kingdom to the will of Rome and that Fabio, as its loyal administrator, should hand over the seal to someone with whom she would then share bed and throne. Fabio says to himself that Alessandro will now be king of Egypt; after his departure, Berenice said in self-talk that the deity was not only blind and capricious, but also pathetic according to their perception: "Chi t'intende?" (No. 25)

Royal palace garden. Selene sits in the garden and struggles with her fate: all love for Demetrio cannot free him from his dungeon. ( “Tortorella, che rimira” , no. 26) Arsace approaches, falls at her feet and makes himself available for her orders. Selene responds immediately and tells him to free Demetrio; the reward will convince him: "Questa qual sia beltà" ("My beauty will be your reward.", No. 27) Without waiting for his answer, it goes off.

Alessandro meets Arsace and tells him that Fabio has given him the Egyptian seal, which he neither wants to keep nor hand over to Berenice. Arsace therefore promises to bring the Queen's seal: ( “Le dirai… / Dirò, che amore” No. 29). Fabio steps up and invites Alessandro to the meeting in the temple, where he can deliver the seal. Alessandro rejects this because of the agreement just made with Arsace: "In quella, sola in quella candida mano" (No. 30).

Holding Mitridate's letter in hand, Berenice consults with Aristobolo. He does not want to get into a new discussion and advises to leave for the temple immediately, since the nobles have all already arrived and are waiting for the queen. Berenice is sad because she won't see Demetrio again. Then she shakes herself , swears revenge again and expects to see Demetrio's severed head in the temple: “Avvertite mie pupille” (no. 31).

The inside of the temple with a large statue of Isis . Berenice appears with her entire court; she immediately addresses the heads of her state and proclaims her renunciation of the throne. She publicly calls Demetrio a traitor and announces his death. Selene accuses her sister of envious vengeance and demands to die with Demetrio.

Arsace, who has freed Demetrio in the meantime, also wants to die because he can no longer see any meaning in his life. Berenice is shocked when she learns that Alessandro received the seal “from Rome” (meaning: from Roman hands, namely from Fabio), but refused the acceptance because he only wanted to receive it from Berenice out of love. The Queen thanks Alessandro for the explanatory words from which she believes she can recognize love. She gives him her hand and both ascend the throne: "Quel bel labbro, quel vezzo / Quella fede, quel volto" (No. 32)

Selene has forgotten the promise she made to Arsace “My beauty will be your reward”. But Arsace is well aware of Selene's statement: "Ora Selene è mia ..." ("And now Selene is mine ...") he says. But she shouts loudly “Crudo destino!” (“Cruel fate!”) .

Demetrio is led into the temple by Aristobolo and says that if Selene is to be the price for his freedom, then he would rather die in chains: "Le vicende della sorte" (No. 33) Alessandro now explains that Selene is the victim of an error was and deserved forgiveness. Berenice is not ready to forgive, but will generously grant favor. Arsace has no choice but to agree to the Selene / Demetrio covenant, even if it doesn't get him anywhere. All the others are satisfied and join in a chorus of thanks: "Con verace dolce" (No. 34).

music

None of the three operas composed in the shortest possible time for the 1736/37 season enjoyed any significant success during Handel's lifetime. The reasons for this were hardly to be found in the musical substance of these works, but rather in the completely unsatisfactory situation of Italian opera in London in the mid-thirties of the 18th century. With interest in the opera seria waning, London audiences might have kept one opera company going, but certainly not two. The devastating competition had led both companies to bankruptcy.

From a musical point of view, there are some notable moments in the Berenice . It begins with an extraordinary overture in a clear, almost sacred-sounding E flat major. The fugue begins immediately with the theme in a narrow passage between the two upper voices. Charles Burney calls the following minuet, in agreement with most listeners of our time, as

"[...] one of the most graceful and pleasing movements that has ever been composed."

"[...] one of the happiest and most pleasant movements that have ever been composed."

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

A dancing gigue concludes the overture. The two symphonies in the third act are also composed in the festive style typical of Handel. For the first, he uses a theme from the Music for the Royal Fireworks . As is so often the case, in this opera the (three) vocal duets provide a sketch of the opera. The first at the end of the first act by Berenice and Demetrio, “Se il mio amor / Se il tuo amor” (No. 10), is a heroic piece and brings together a couple who ultimately do not belong together. The voices go almost parallel to each other, as if they were in full agreement. No sign of sadness, no harbinger of a possible confrontation to come. Belief in love is real and is presented as real. The second in the middle of the third act by Alessandro and Arsace ( “Le dirai… / Dirò, che amore” No. 29) could be described as a “misunderstanding duet”. Although Alessandro remains monosyllabic, while Arsace expresses himself in more detail, there is musical agreement that complements each other lyrically. Both men, of noble blood, are sad because their overlapping feelings of love are not fulfilled. They try to be above the conditions demanded of them. This elevation, including the one not wanting to bow to the dictates of Rome, reveals common ground. The last duet at the end of the opera brings together the two who (should) belong together, namely Berenice and Alessandro: "Quel bel labbro, quel vezzo / Quella fede, quel volto" (No. 32). This time the two lyrics and the contrapuntal music form a happy unit. With the figure of Alessandro Handel created a parade role for the castrato soprano Gizziello. This can present itself in chivalrous seduction manner and sun boy mentality as well as in love longing and honest devotion. But he can also subordinate this differentiation to his strong will, which does not want Rome to dictate his life plans, but wants the crown to be given to Berenice through the hoped-for love. This ultimately strong character, which also includes his sought happiness in love with Alessandro pushes in the third act in his exclusively unison accompanied violins aria "In quella, sola in quella candida mano" (no. 30) forcefully made.

The best music with a broad spectrum of sensations was written by Handel for the character of Berenice. It ranges from furious anger and deepest despair to warm ardor and heartfelt love statement. Your aria from the third act Chi t'intende? (No. 25) is undoubtedly one of the most beautiful arias in the opera, with a wonderful solo for the oboe (originally written for Giuseppe Sammartini ) and a thematic reminiscence of his years of study in Italy: he already had the painful falling chromaticism of the solo oboe in his Oratorio La Resurrezione (1708) used. Before that, in the aria Traditore, so vago di sembiante (No. 20) in the second act , Berenice had hurled her feelings of revenge at us in raging anger. But Berenice can also be womanly. As long as she has not yet finally realized that her love for Demetrio will not be returned because he loves her sister, she can give free space to thoughts and feelings of her own love - detached from the politics that plagues her. This is especially true for Semper dolce, ed amorose (No. 13): the melody and the delighting A major are a docile mixture of pure lust and the approaching insight that the hoped-for return of love by Demetrio could only be a dream .

The role of Selene is limited to three arias, one in each act. In relation to her sister, she is a little active figure who can quietly feel and process both the joy and the suffering. Her love for Demetrio is constant, but the uncertainty of her character and mental faculties makes it difficult to believe in her lover's oaths of loyalty, which are nevertheless serious. Uncertainty combined with poetic feelings make this still very young woman a lovable person. You can tell that Handel draws this person with his own warm feelings. In the exemplary aria Gelo, avvampo, con sidero (No. 5), the melancholy music enables one to immerse oneself in the lovable world of her innocent soul.

Demetrio is a head of fire who spontaneously expresses his respective feelings without much thought, regardless of whether it is jealous anger or sentimental impulses. He is the real hero of this opera. He could have the Egyptian throne, but with undaunted love he would like to marry Selene, Queen Berenice's sister, whom he knows she loves him too. He is also the only man in the opera who frequently acts with a sword. He begins in the first act with a simple and soft melody in Nò, soffrir non può (No. 4) and continues in the second act with the dramatic aria Sù, Megera, Tesifone, Aletto! (No. 15) who is full of disappointment and jealousy. His manly, loyal and heroic character is particularly evident in his dungeon aria Sì, tra i ceppi, e le ritorte (No. 22), which is a brilliant example of the so-called “aria di bravura” ( bravura aria ), and it became so many times in the last decades included in concert programs, although they were often sung there by baritones and basses in an octave transposition. The dark C minor gives the physical and psychological annoyance of the chain burden the corresponding severity. But the melody and the agile and moving, almost symphonic use of the strings and oboes contain the rebellion in Demetrio.

In addition to the aforementioned misunderstanding duet, Arsace appears in the first two acts with an aria each. In both he shows that he is still developing as a young man. On the one hand, he is looking for a hold on a person. Love is only one of several possibilities for leaning on. This occurs clearly in the pictorial, pastoral aria Senza nudrice alcuna (No. 8). His internal duel (his disagreement with himself mainly consists in the fact that he still has to decide whether he should devote his life more to love, Selene, or to fame, the fight against Rome) in Amore contro amor combatte becomes very concise nel mio cor (No. 18).

Berenice is an opera of great maturity. Despite the bulky dramatic context from which the story is composed, it reflects the psychological depth of the characters that Handel is able to draw. This culminates in the figure of the Egyptian queen (once again an important female role in one of Handel's works), who exemplifies renunciation, but is no less present in Demetrio, Selene and Alessandro. Here the composer shows his genius in portraying human passions.

Success and criticism

“The weaknesses of Berenice are dramatic, not musical. There is no perceptible falling off in the invention: almost every aria, even when tangential to the plot, has some subtle turn of phrase or structural detail. Burney, for whom drama and characterization held little interest, ranked it very high and devoted several pages to a description of the score. "

“ Berenice's weaknesses are dramatic, not musical. There is no noticeable decline [in Handel] ingenuity: almost every aria, even on sidelines, has subtle musical twists or fine structural details. With Burney , who did not find the drama and characterization [in general] so interesting, [ Berenice ] ranks high and he dedicated several pages to it [in his Allgemeine Musikgeschichte , 1789] to describe the score. "

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

orchestra

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

Performance history

Like basically all of Handel's operas, Berenice also disappeared from the repertoire of opera houses for more than two and a half centuries. Berenice was performed in concert on March 17, 2016 at the London Handel Festival , then on May 7, 2016 at the International Handel Festival in Göttingen . On May 27, 2018, the work was shown in a staged version at the opening of the International Handel Festival in Halle (Saale) , for the first time using the music from the new Halle Handel Edition . This was the last Handel opera that had not previously been performed in the composer's hometown.

First performance in the new Halle Handel Edition

Orchestra, leading team singers Singer
Handel Festival Orchestra
Jörg Halubek Conductor
Jochen Biganzoli Director
Wolf Gutjahr Stage
Katharina Weissenborn Costumes
Matthias Hönig Lighting
Konrad Kästner Video
Kornelius Paede Dramaturgy 		KS Romelia Lichtenstein Berenice
Svitlana Slyvia Selene
Franziska Gottwald Arsace 		Samuel Mariño Alessandro
Filippo Mineccia Demetrio
Robert Sellier Fabio
Ki-Hyun Park Aristobolo

Discography

  • Newport Classics 85620-3 (1994): Julianne Baird (Berenice), Andrea Matthews (Alessandro), Jennifer Lane (Demetrio), D'Anna Fortunato (Selene), Drew Minter (Arsace), John McMaster (Fabio), Jan Opalach ( Aristobolo)
Brewer Chamber Orchestra; Dir. Rudolph Palmer (150 min)
  • Virgin Classics (EMI Music) 50999 6285362-0 (2010): Klara Ek (Berenice), Ingela Bohlin (Alessandro), Franco Fagioli (Demetrio), Romina Basso (Selene), Mary-Ellen Nesi (Arsace), Anicio Zorzi Giustiniani ( Fabio), Vito Priante (Aristobolo)
Il complesso barocco ; Dir. Alan Curtis (166 min)

literature

swell

Web links

Individual evidence

  1. ↑ Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 380, original title "... Regina di Egitto" not "... regina d'Egitto"
  2. ^ 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
  3. ↑ 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
  4. ^ 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. 270
  5. ↑ a b Friedrich Chrysander : GF Handel , second volume, Breitkopf & Härtel , Leipzig 1860, p. 394 ff.
  6. ↑ a b c Friedrich Chrysander: GF Handel. Second volume, Breitkopf & Härtel , Leipzig 1860, p. 399ff.
  7. ^ 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. 277
  8. ↑ Many musicologists, following Otto Erich Deutsch (Handel: A Documentary Biography , London 1955, reprint New York, 1974, p. 431), place the beginning of Handel's illness on April 13, 1737. Deutsch's statement is obviously a misinterpretation of Friedrich Chrysander ( G F. Handel , second volume, Leipzig, 1860, p. 401), and cannot be justified. See also: John H. Roberts: Handel and Vinci's 'Didone abbandonata': Revisions and Borrowings. Music & Letters, Vol. & N68, No. & n2, Oxford University Press (1987), p. 141.
  9. ↑ 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. 280
  10. ↑ a b 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 , p. 238 f.
  11. ^ Handel & Hendrix in London . handelhendrix.org. Retrieved April 1, 2018.
  12. ↑ Commerce Reference Database . ichriss.ccarh.org. Retrieved February 18, 2013.
  13. ^ Silke Leopold : Handel. The operas. , Bärenreiter-Verlag , Kassel 2009, ISBN 978-3-7618-1991-3 , p. 227
  14. ^ 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. 459 f.
  15. ^ A b Winton Dean : Handel's Operas, 1726–1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 383
  16. ↑ a b c d e f g h Albert Scheibler: All 53 stage works by Georg Friedrich Handel, opera guide. Edition Köln, Lohmar / Rheinland 1995, ISBN 3-928010-05-0 , p. 219 ff.
  17. ↑ Antoine-Elisée Cherbuliez : Georg Friedrich Handel. Life and work. , Otto Walter Verlag, Olten 1949, p. 250
  18. ↑ Guido Bimberg: Dramatic and scenic highlights in Handel's opera Berenice. Handel yearbook 37, Halle / S. 1991, p. 69
  19. ^ 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. 408
  20. ↑ bachtrack: Berenice, regina d'Egitto, HWV 38 , accessed on May 14, 2018