Giove in Argo

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Work data
Original title: Giove in Argo
Shape: Festa teatrale
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Antonio Maria Lucchini , Giove in Argo (Dresden 1717)
Premiere: May 1, 1739
Place of premiere: King's Theater , Haymarket, London
Playing time: 2 ½ hours
Place and time of the action: In the forest near Argos ( Arcadia ), in mythical times
people
  • Arete, a shepherd, actually Jupiter ( tenor )
  • Iside , daughter of the river god Inachus , betrothed to Osiris, king of Egypt; disguised as a shepherdess ( mezzo-soprano )
  • Erasto, a shepherd, in reality Osiris , King of Egypt ( Bass )
  • Diana , goddess of the hunt ( soprano )
  • Calisto , daughter of Licaone (soprano)
  • Licaone disguised as a shepherd, King of Arcadia (bass)
  • Hunters, shepherds, nymphs (choir)
Jupiter's head, crowned with laurel and ivy
(Sardonyx Cameo, Louvre )

Giove in Argo , English and German Jupiter in Argos , ( HWV A 14 ) is an Italian opera pasticcio ("Dramatical composition") in three acts by Georg Friedrich Handel . The opera differs from Handel's other opera series in its emphatically pastoral character and the above-average participation of the choir, which contests all the beginnings and finals of all acts.

Emergence

The compilation and partly new composition of the pasticcios Giove in Argo falls at a time of the reorientation of Handel. In 1733 he had lost a monopoly. Until then he had been the head of the only Italian opera company, the Royal Academy of Music : he was able to use the prestigious premises of the King's Theater on the Haymarket and was considered the most influential figure in the field of opera, both creatively and practically. Then a rival company, the Opera of the Nobility , conquered the King's Theater from 1734, and Handel felt compelled to move his performances to other houses. He did that first in John Rich's new theater in Covent Garden , where he held three seasons in competition with the aristocratic opera. During these years he produced some outstanding new operas, and he developed the English language oratorio genre.

But he had to fight for his audience: Not enough that there were too few opera fans and patrons in London to maintain two houses, the new aristocratic opera had also managed to poach Handel's best singers and lure the famous castrato Farinelli to London . In the years 1737/38, when the economic collapse of both companies through the ruinous competition became evident, attempts were made to unite the remains of both competitors, and Handel agreed to work on behalf of the company that remained in the King's Theater, which is now "theirs “Farinelli had lost writing some Italian operas. Faramondo and Serse , performed for the first time in the first half of 1738 , were only moderately successful and it became increasingly clear that the Italian opera was going downhill in London.

The response to the subscription for the next season, which Handel's business partner Heidegger offered in May, was then so low that the project had to be canceled and he announced his withdrawal in a London newspaper:

“WHEREAS the Opera's for the ensuing season at the King's Theater in the Hay-Market, cannot be carried on as was intended, by Reason of the Subscription not being full, and that I could not agree with the Singers, tho 'I offer' d One Thousand Guineas to One of them: I therefore think myself oblig'd to declare, that I give up the undertaking for next year, and that Mr. Drummond will be ready to repay the money paid in, upon the delivery of his receipt ; I also take this opportunity to return my humble Thanks to all Persons, who were pleas'd to contribute towards my endeavors of carrying on that entertainment. J. J. Heidegger. "

“Because the operas at the King's Theater on Haymarket cannot continue as planned in the coming season, after the subscriptions have not been sold out and I could not come to an agreement with the singers, even though I offered one of them a thousand guineas [probably Caffarelli ], see I forced myself to declare that I will be leaving the company next year and that Mr. Drummond will refund the money paid on presentation of the receipt; I would also like to take this opportunity to express my most humble thanks to all those who have been so kind as to support me in my endeavors to continue the events. J. J. Heidegger. "

- Johann Jacob Heidegger : The London Daily Post , London, July 26, 1738

But Handel had recognized the danger in good time: two days earlier he had started work on his oratorio Saul , which apparently caused him considerable problems, as can be seen from the numerous corrections and rejected numbers. Although work on Saul was well advanced, he put the score aside at the beginning of September in order to begin another Italian opera, Imeneo , for the performance of which there was actually no prospect of a performance because he lacked the theater and the audience above all. As a result, he also interrupted work on this work for a long time.

As can be seen in a letter of September 19, 1738 from Charles Jennens , Saul's librettist , he soon picked up this oratorio again and finished it on October 27. Just a few days after completing the Saul , he began work on Israel in Egypt - one of its very different works - which he completed on October 11th.

In January 1739, Handel first brought out Saul at the King's Theater on Haymarket , followed by the resumption of the Alexander Festival in February and March and the world premiere of Israel in Egypt in April . Soon, however, he found himself challenged by a company producing Italian operas at John Rich's Theater in Covent Garden, where Handel had directed his own performances from 1734 to 1737. This troupe seemed to have been put together overnight: Charles Sackville , the Earl of Middlesex, had just returned from Italy, and was soon followed by Lucia Panichi, his lover, a pathetic singer who was nicknamed “La Moscovita “Received. As a first offer, the Lord brought Angelica e Medoro by Giovanni Battista Pescetti on the stage on March 10 , with "Moscovita" as the inevitable prima donna and the other singers, whom he had mainly enticed from Handel's company. The hostile intent was evident from the start, for Angelica e Medoro took place on Saturdays when Handel was in the habit of performing his oratorios, and the fourth and final performance was scheduled for the same Wednesday evening (April 11) as the second performance of the newly-new oratorio Israel in Egypt .

Handel hit back immediately and announced his intention to perform Italian operas himself as soon as the theaters reopened after Easter. For his counterattack, Handel composed Giove in Argo . This pasticcio, which he calls “Opera” in his autograph , and in which he envisaged organ concerts as a special attraction between acts, he finished at the end of April: Fine dell Opera Jupiter in Argos! April 24. | 1739. A sheet with this signature is kept in the Fitzwilliam Museum at Cambridge University .

Handel had already brought these pasticci to the stage in London several times. In most cases it was successful works by Italian composers such as Leonardo Vinci , Nicola Porpora and Leonardo Leo , but also Johann Adolf Hasse , which he adapted for London conditions by composing new recitatives or adapting existing ones from the chosen template Arias of a different pitch or tessitur , e.g. B. by transposition , and gave it a new text using the parody method . He proceeded in a similar way with the three pasticci, in which he almost exclusively recycled his own music from older pieces. In addition to the well-known Oreste , which has already been performed successfully several times today, and the still to be discovered Alessandro Severo , this basically also includes Giove in Argo , apart from the newly composed numbers.

At first Handel had intended to use a predominantly English line-up for the Giove and to persuade some of the singers who had lost their way to Lord Middlesex to return, but when he got to the middle of the score he suddenly changed his plans because a family of Italian musicians appeared in London on April 17th. That was the violinist Giovanni Piantanida (who was immediately asked to play a concert in Saul ), his wife Costanza Pusterli , known as “La Posterla”, a long-serving Italian singer, and their teenage daughter, also a singer, but almost completely without opera experience. New interpreters, especially from Italy, were always a crowd puller, and Handel immediately hired mother and daughter for the Giove .

Giove in Argo has some remarkable features: It is the only music-dramatic work by Handel in which the main male parts were only designed for low male voices, namely a tenor and two basses, castrato or trouser roles completely missing; It is the opera with the largest number of choral movements within his theatrical work and, in addition to two highly dramatic arias by Francesco Araja , it also contains some new compositions - unusual for a pasticcio work.

The opera premiered on May 1, 1739 at the Haymarket Theater.

“At the King's Theater [...] this Day [...] will be acted a Dramatical Composition, call'd Jupiter in Argos. Intermix'd with Chorus's, and two Concerto's on the Organ […] To begin at Seven o'Clock. "

“In the King's Theater [...] today [...] a dramatic composition called Jupiter in Argos is being played. Interspersed with choirs and two organ concerts [...] It starts at seven o'clock. "

- The London Daily Post , London, May 1, 1739

Jupiter in Argos shared the failure with Handel's other pasticci and only saw a second performance on May 5th. Why the piece failed is unknown. One of the reasons may have been that the plot, which tells of extravagant love affairs, displeased the strict London opera audience. But interest in Italian opera had generally declined sharply in London. The sudden departure of Posterla could also have been a reason for the cancellation of the opera. Their arrival in London had only recently been widely announced:

"We hear that Signiora Busterla, a famous Italian Singer arrived here last Tuesday, and is to perform in the Opera's that are intended to be perform'd by Mr. Handel, after the Holydays."

"According to reports, Signora Busterla, a famous Italian singer, was last Tuesday [17. April] arrived here and will sing in the operas, which Mr. Handel intends to perform after the Easter holidays. "

- The London Daily Post , London, April 19, 1739

The preserved libretto print by Giove in Argo, however, does not name any singers, but by studying the roles and evaluating contemporary letters, John H. Roberts was able to reconstruct the cast of the premiere relatively precisely:

Cast of the premiere

For her debut , Posterla asked for the two arias not by Handel, taken from the Venetian opera Lucio Vero by the Russian court conductor Araja, to be included in her part. It was often assumed that Gustav Waltz , for whom Handel had composed the title role in Saul , sang one of the bass parts. But Waltz probably hadn't been forgiven for starring in Angelica e Medoro , and the part of Erasto was obviously given to William Savage. Savage had initially been engaged by Handel as a boy soprano in 1735, and after he had sung the alto arias in Israel in Egypt in falsetto, like our countertenors today , this should now have been his first public performance as bass. That is probably the reason why Erastos three arias come from the alto repertoire.

libretto

The template for the libretto comes from the Venetian poet Antonio Maria Lucchini , who wrote it for a setting by Antonio Lotti in Dresden in 1717 during his own employment in Dresden (1717–1720). He took the story of Jupiter's love for two mortal women from classical mythology and put them together into a conventional plot at his own discretion. All, with the exception of the goddess Diana, are more or less disguised, and then there is the usual web of amorous entanglements and unnecessary misunderstandings, enlivened by some more colorful episodes: a mad scene, a barely prevented execution, an attack by a bear. As in most Italian pastorals of the time, people are viewed from an ironic distance, even in moments of strong emotion or violence. Two comical servant figures, Vespetta and Milo, who made fun of the better-off in their environment in three interludes in the Dresden libretto , have been erased, but the keynote remains ambiguous.

Handel will have heard Lotti's opera on his visit to Dresden in 1719 during the lavish celebrations on the occasion of the marriage of Prince Elector Friedrich August to Maria Josepha of Austria , daughter of the late Emperor Joseph I , in which the famous Senesino himself played the role of Arete sang disguised Jupiter, because he later borrowed an aria from Lotti's opera. Handel presumably took a copy of the libretto with him to England and remembered the pastorale melodrama in 1739 when he was looking for a suitable piece for a short pasticcio opera with three female roles. The unknown London editor of Lucchini's libretto omitted the comical characters, tightened the recitatives and adapted the aria poems to the aria compositions from Handel's older operas to be inserted.

Until recently, Giove in Argo was not considered to be performable due to its fragmentary tradition. It is the only Italian opera of Handel for which no complete score has survived. Fortunately, all newly composed numbers are preserved in manuscripts at the Fitzwilliam Museum , Cambridge , the British Library , the Gerald Coke Handel Collection, the Foundling Museum , London and the Henry Watson Music Library, Manchester . Handel's draft of the first act with the recitatives (in a version before the cast was determined) is also in the Fitzwilliam Museum. The secco recitatives of the second and third acts are lost, with the exception of two transitional bars between the two Accompagnati in Iside's mad scene. The two Araja arias were identified by John H. Roberts in 2001. The Jupiter pasticcio was one of Handel's last activities in the field of Italian opera. He was then to lead only five more opera performances: twice Imeneo (1740) and finally on February 10, 1741 the last of three performances of Deidamia . Then he turned completely to the English oratorio , which had gradually replaced opera in previous years.

Giove in Argo , for a long time only named by its English title, which had more to do with the fragmentary character of the sources than with the entirely Italian-language character of the work, only came into the focus of research almost two hundred years after its creation . The important English Handel researcher Walter Newman Flower reported, from his own copy of the arias, which in turn comes from the Aylesford collection and from Handel's factotum Johann Christoph Schmidt senior. was written to have made a score. The BBC brought on the basis of this note issue on October 8, 1935, a radio broadcast this pastiches under the baton of Sir Adrian Boult , but under the title of Perseus and Andromeda . This “Operatic Masque” had nothing to do with Handel's original libretto, but was completely redesigned, as John H. Roberts discovered.

In 2002, John H. Roberts created a version for the Halle Handel Edition, which was presented for the first time on May 28, 2007 at the International Handel Festival in Göttingen with Alan Curtis and his "Il Complesso Barocco" and further performances in Herrenhausen / Hanover and Halle (Saale) followed. The first complete reconstruction of the opera by the musicologists Steffen Voss (Hamburg) and Thomas Synofzik (Cologne / Zwickau), including the arias by Francesco Araja and newly composed recitatives (based on Antonio Lotti ), took place for the first time worldwide on September 15, 2006 in the historic Margravial Opera House to be seen and heard in Bayreuth as part of the Bayreuther Barock Festival , with Harry van der Kamp (Licaone), Theresa Nelles (Diana), Tanya Aspelmeier (Iside), Benoît Haller (Arete), Lisa Tjalve (Calisto), Markus Auerbach ( Erasto), the ensembles “Concert Royal”, Cologne and Collegium Cantorum Cologne with scenic implementation by Igor Folwill and under the musical direction of Thomas Gebhardt . The modern premiere of the score by Giove in Argo based on the Halle Handel Edition (HWV A14) took place during the Handel Festival in Halle on June 13, 2014 in the Goethe Theater Bad Lauchstädt under the musical direction of Werner Ehrhardt and in a production by Kay Link .

action

Diana and Callisto
( Dosso Dossi , 1528, Borghese Gallery , Rome)

Historical and literary background

The love adventures of Jupiter, the father of the gods and the grave, have been told in the many ancient works of Greek and Roman historians and poets. In Giove in Argo librettist arranged the amorous entanglements of God with two of his mortal beloved, Io and Callisto, in a complicated intrigue action unrelated to the traditional myths, such as those in the Historiai of Herodotus or Metamorphoseon libri of Ovid reported , has to do. In this opera, for example, the metamorphoses of Io into a cow and Callisto into a bear, which are centrally treated in the traditions, are missing. At most, the appearance of a bear chasing Isis (Io) on a hunt, but who is killed by Osiris , should be seen as a kind of “reminiscence” of the ancient Greek myth. An important figure in the mythical events, Jupiter's jealous wife Juno , does not appear at all in Lucchini. On the other hand, it is his invention that Callistus' father Lykaon killed the father of Io, who appears here under her Egyptian name Isis , Inachos . This Inachos was actually a river god, hence immortal; Lucchini, however, made him the king of Arcadia .

There is only one element of action that Lucchini actually took from the mythical saga: namely the vow of chastity that the huntress Callisto had made towards the goddess Diana. Her supposed breach of word, expressed in the opera, is supposed to be punished by the angry goddess, but this is prevented at the last moment by the intervention of the godfather. To do this, however, he has to reveal his true identity, and he succeeds in reconciling Isis (Io) with her Osiris (Erasto).

prehistory

Licaone, the tyrant of Arcadia, murdered the king Inachos of Argos in order to be able to take the throne of Argos himself. The people of the Argives have driven Licaone out and so he is now wandering through the country, pursued by Iside, the daughter of the murdered Inachos, who wants to take revenge for the murdered father. Calisto, Licaone's daughter, is also on the run; she thinks her father is dead. And Osiris, the king of the Egyptians, fiance of Iside, is looking for his bride, disguised as the shepherd Erasto. And the father of gods Jupiter, this time disguised as the shepherd Arete, is once again on the road in love adventures with human women.

first act

Driven by feelings of revenge against the rebellious people of the Argives, Licaone comes onto the scene. He witnesses a chorus of nymphs and hunters announcing Diana, the goddess of the hunt, who in turn calls the entire entourage to hunt in the woods.

Iside, grieving for her dead father, lies to rest under a tree, tired from long wandering. After she fell asleep, a man approaches her, apparently the shepherd Arete. But it is none other than Jupiter. The sleeping beauty piqued his male interest and when Iside wakes up, Jupiter woos her immediately. Iside responds to his impetuous solicitation, if only in appearance, immediately. The god promised her help against the murderer of her father Inachos in return for her kindness.

After the departure of Iside and Jupiter, Calisto and the shepherd Erasto, who is actually Osiris, King of Egypt, appear on the scene. Erasto believed that Calisto was his bride Iside, the daughter of the tyrant Licaone. Calisto complains to Erasto that she has lost her father. Painfully touched by her descriptions, she turns away and leaves Osiris / Erasto alone on the scene. Jupiter steps in and immediately knows who is standing in front of him: this is not a shepherd, this is the king of the Egyptians. But Jupiter keeps it to himself and even tries to make his counterpart know that his bride has forgotten him and is having fun with a very good-looking shepherd. Jupiter's plan to make Erasto jealous in order to provoke him as the opponent with Iside has succeeded: Erasto is desperate and turns away.

Iside comes and ponders her plans, which have only one goal, namely to bring down the killer Licaone.

Second act

The goddess Diana is happy about a new addition to her nymphs' circle: she has accepted Calisto into the exclusive circle.

Jupiter / Arete also joins the group and is enthusiastic about the beautiful daughter of Licaone. When they are alone, he immediately courted her and won her affection with the promise to protect her father from the pursuit of the vengeful Iside.

But that is exactly what that Iside noticed and suddenly Almighty God is in a precarious position. But Jupiter succeeds in using gallant words to talk his way out of this situation.

Angry, a new disappointed man appears, namely the shepherd Erasto. He reveals himself as Osiris, King of the Egyptians. He is convinced that his bride Iside is cheating on him and disregards the alleged unfaithfulness. Iside is so shocked by this action that she reacts insane and believes that she is seeing her murdered father before her.

Third act

Calisto has found her father again. However, Licaone is very cautious, because he believes that his daughter is making common cause with the shepherd Arete. From him he now knows that he was incited against him by Iside. Calisto protests her innocence to her father and urges him to get away from his enemies.

Arete puts Calisto under pressure again: Either she agrees to his desire for love, or he carries out Iside's assignment to hunt down her father Licaone.

Iside, in turn, is still insane and accuses Arete of infidelity. In return, Calisto is now responding to his courtship. Diana overhears the duet that the two lovers sing, and she condemns the allegedly oath-breaking nymph to death without hesitation.

The execution of this death sentence can be prevented at the last minute by Jupiter, who now reveals himself; he appeases his daughter Diana and saves Calisto's life.

Jupiter tries very hard to put his actions in order: he assures the king of the Egyptians, Osiris, that Iside was never in danger of losing her honor; in addition, he cures her of her delusions and unites the loving couple.

Now that the villain Licaone has also been put in his place, a hymn of praise to Jupiter, the father of the gods, and Amor, the god of love, ends the opera.

music

Although Giove in Argo is generally classified as a pasticcio, it contains considerably more new music than other Handel operatic pasticci. He not only re-composed the secco recitatives, but also twelve other numbers: six arias, three of which were contained in the unfinished draft of Imeneo (September 1738), with the genesis of which Giove in Argo is very closely linked, two ariosi, three Accompagnati and the final chorus: The Posterla received the two Ariosi, Deh! m'aiutate, o Dei '(No. 6) and Vieni, vieni, o dei viventi (No. 7) - of which Handel later adapted the first for Imeneo when he finally finished this opera in 1740 - the spirited aria Taci, e spera (No. 9), the emphatically dramatic Accompagnato Svenato il genitor (No. 22), which makes up the first part of her insane scene, as well as the lively final aria with the choir Al gaudio, al riso, al canto / D'Amor, di Giove al vanto (nos. 36-37). The Francesina was presented with a tender Siciliano , Già sai che l'usignol (No. 17) and two eloquent Accompagnto recitatives, Priva d'ogni conforto (No. 31) and Non è d'un alma grande (No. 34), that gave her ample opportunity to showcase her acting talents.

The borrowed music comes from nine operas he composed between 1712 and 1738, as well as from the serenatas Acis and Galatea (1732 to 1734) and Il Parnasso in Festa (1734) and the oratorio Il trionfo del Tempo e della Verità (1737) . Most of the operas used, such as Ezio (1731), Arminio , Giustino (both 1736), Berenice and above all Faramondo (both 1737) were still very topical. London audiences had heard all but one of these pieces over the past five years, and it was evident that they were meant to be recognized, perhaps even greeted as familiar and popular tunes. The overture may also have been taken over from an earlier production. In any case, some of the borrowed music had to be adapted to the new context in ways that we can only guess. For example, the choir at the beginning of the second act Corre, vola (No. 16) cannot have been taken over unchanged from Giustino , since it begins there without a ritornello and a new act cannot be introduced. Its instrumental fading away is only justified dramatically at the end of the scene, where the chorus is repeated and the shepherds move away. Also new to the London audience were the two chants by the Neapolitan Francesco Araja, Isides Accompagnato-Recitative and Aria Iside, dove sei? / Ombra che pallida (No. 23-24) and the aria Questa d'un fido amore (No. 28 ). The Posterla had worked with Araja in St. Petersburg from 1735 to 1737, and it will have insisted that these pieces be included in Giove . We can well understand why she wanted to sing this: It is vocal and dramatic arias that allow the guest virtuoso to compete effectively with the "Francesina", who, however, enjoyed the two Handel hits Tornami a vagheggiar (here No. 20) from Alcina and Combattuta da più venti (here No. 27) from Faramondo as well as the tormented Ah! non son io che parlo (No. 32) came from Ezio .

Giove contains no less than eight choirs, two of which are repeated - more choirs than in any other Handel opera. Pastorals often contained more choirs than other opera genres, but this abundance here, like the inserted organ concerts (probably the recently composed works HWV 295 and HWV 296 ), was sure to attract an audience that evidently turned their backs on Italian opera turned to the English oratorio. This focus on changing tastes may also explain why Giove is referred to in Argo in the libretto and in newspaper advertisements as "Dramatical composition", a label that was common for serenatas. More recently, this has led some commentators to mistakenly believe that the work was not staged. In his autograph, however, Handel explicitly called it opera, as do all three contemporary witnesses.

Success and criticism

"This last opera of Jupiter did not take."

"This last opera 'Jupiter' was not accepted."

- Katherine Knatchbull : Letter to James Harris , London, May 7, 1739

“We should not expect Handel's 'Giove in Argo' to conform to some modern ideal of musical drama, perfectly developed and peopled with subtle and distinctive characters. It was never intended to. Rather, it was conceived as a brilliant theatrical entertainment, and Handel filled it with arias and choruses of proven appeal, augmented by a goodly quantity of new music, as expressive and finely wrought as in his more fully original works. If it failed to please in May 1739, that was the result of a patchy cast and an audience increasingly indifferent to what Handel had to offer. "

“We shouldn't expect Handels Giove in Argo to correspond to modern ideals of musical drama - with sophisticated and distinctive characters and a plot that develops logically. It was never intended. Rather, the opera was conceived as brilliant stage entertainment: Handel furnished it with arias and choruses that had proven themselves, and supplemented them with a wealth of new music that was just as expressive and worked out in detail as in his more or less original works . If the opera found so little approval in May 1739, it was due to the unbalanced cast and an audience that was increasingly indifferent to commercial offers. "

- John H. Roberts : Giove in Argo. Booklet Virgin Classics, 2013

orchestra

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

Discography

  • Musicaphon M 56891 (2006): Benoît Haller (Arete), Tanya Aspelmeier (Iside), Markus Auerbach (Erasto), Theresa Nelles (Diana), Lisa Tjalve (Calisto), Raimonds Spogis (Licaone)
Chamber Choir Würzburg, Concert Royal Cologne ; Dir. Sylvie Kraus and Matthias Beckert (155 min)
  • Virgin Classics 7231162 (2013): Anicio Zorzi Giustiniani (Arete), Ann Hallenberg (Iside), Vito Priante (Erasto), Theodora Baka (Diana), Karina Gauvin (Calisto), Johannes Weisser (Licaone)
Il complesso barocco ; Dir. Alan Curtis (157 min)

literature

Web links

Individual evidence

  1. ↑ a b c d e f Steffen Voss: Giove in Argo. 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. 312 ff.
  2. ↑ a b c Donald Burrows : Handel. Imeneo . From the English by Eckhardt van den Hoogen, CPO 999915-2, Osnabrück 2003, p. 8 ff.
  3. ^ 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. 298.
  4. ↑ 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. 266 ff.
  5. ↑ a b c d e f g h John H. Roberts: Giove in Argo. Translated from the English by Gudrun Meier. EMI Records Ltd / Virgin Classics, 50999 72311622, London 2013, p. 33 ff.
  6. ^ Friedrich Chrysander : GF Handel , second volume, Breitkopf & Härtel , Leipzig 1860, p. 453.
  7. ↑ Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006. Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 . P. 128 f.
  8. ^ A b Manfred Rückert: Giove in Argo. In: Tamino opera guide 2011. Giove in Argo . tamino-klassikforum.at. Retrieved August 6, 2013.
  9. ^ 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. 310
  10. ↑ a b c Bernd Baselt : Thematic-systematic directory. Instrumental music, pasticci and fragments. In: Walter Eisen (Ed.): Händel-Handbuch: Volume 3 , Deutscher Verlag für Musik , Leipzig 1986, ISBN 3-7618-0716-3 , p. 421 ff.
  11. ↑ a b c d e f John H. Roberts: Giove in Argo. In: Annette Landgraf and David Vickers: The Cambridge Handel Encyclopedia , Cambridge University Press 2009, ISBN 978-0-521-88192-0 , pp. 259 f. (English)
  12. ^ 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. 309
  13. ↑ Genre assignment in Lucchini's original libretto.
  14. ^ John H. Roberts: Reconstructing Handel's 'Giove in Argo'. In: Handel yearbook 2008 , 54th year, Halle (Saale) 2008, ISBN 978-3-7618-1448-2 , p. 183 ff.
  15. ↑ http://www.barock-konzerte.de/pages/20_0_0_35.html
  16. ↑ Commerce Reference Database . ichriss.ccarh.org. Retrieved September 2, 2013.
  17. ↑ John H. Roberts: Giove in Argo. EMI Records Ltd / Virgin Classics, 50999 72311622, London 2013, p. 19.