Ottone (Handel)

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Work data
Title: Ottone
Original title: Ottone, re di Germania
Title page of the libretto, London 1723

Title page of the libretto, London 1723

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : Nicola Francesco Haym
Literary source: Stefano Benedetto Pallavicino , Teofane (1719)
Premiere: January 12, 1723
Place of premiere: King's Theater , Haymarket, London
Playing time: 3 hours
Place and time of the action: Rome and environs, AD 972
people

Ottone, re di Germania ( HWV 15) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Händel . The focus of the material is the later emperor Otto II , who married the Byzantine princess Theophanu in 972 as a sign of an understanding between the western empire and Byzantium .

Emergence

Francesca Cuzzoni

The Italian soprano Francesca Cuzzoni , newly hired by Handel, made her London debut in Ottone and quickly became one of the main attractions of the Royal Academy of Music . Since her arrival was delayed by almost half a year and she did not arrive in London until the end of December, Handel left the score, which he had started in July and finished on August 10, 1722 ( à Londres | August 21n ⁄ 10v  st | 1722 ) until January 1723. That explains the long time span of five months that lay between the completion of the work and its premiere, before which he also made some changes. Anastasia Robinson, for example, wrote a letter to her Italian friend Giuseppe Riva , Modena's diplomatic representative in London, requesting that he use his influence at court to induce Handel to use the music he had already written for the role of Matilda, to change:

“[…] That the greatest part of my life has shew'd me to be a patient Grisell by Nature, […] those songs that require fury and passion to express them, can never be performed by me acording (sic) to the intention of the composer, and consequently must loose their beauty. "

“[…] That the main part of my life has shown me that I am by nature a 'Griselda' [a title role in an opera by Bononcini ], […] the arias, the anger and passion that she [Matilda] must express , I cannot express that they are to be reconciled with the composer's intention and so they must lose their beauty. "

- Anastasia Robinson : letter to Giuseppe Riva. London 1722.

Handel then actually made the required changes.

In May 1719, Handel had received an order from the board of the newly founded Royal Academy of Music to look for good singers on the continent. His journey through Germany and Italy also took him to Dresden , where on September 13, 1719 he witnessed the premiere of the opera Teofane by Antonio Lotti on the occasion of the marriage of Prince Elector Friedrich August II in the Zwinger Opera House . This day was perhaps the most important of his whole trip, because with the old castrato Senesino , the soprano Margherita Durastanti and the bass Giuseppe Maria Boschi , he experienced three singers who were to be of great importance for his first Opera Academy in London. Even if he did not succeed in hiring all three for London on the spot (only Durastanti, who had already sung the title role in Agrippina in Venice in 1709 , immediately agreed for the first season in London), the second season all in London. In addition, that evening Handel got to know a subject that he was to take up now, in 1722: the Teofane that was now conceived for the Theater am Haymarket on the basis of a new text book entitled Ottone . In addition to the Cuzzoni, the former “Dresdner” Senesino was to become the driving force behind this first opera academy for years. As early as October 27, 1722, Ottone was announced by the London Journal as follows:

“There is a new Opera now in Rehearsal at the Theater in the Hay-Market, a Part of which is reserv'd for one Mrs. Cotsona, an extraordinary Italian Lady, who is expected daily from Italy. It is said, she has a much finer Voice and more accurate Judgment, than any of her Country Women who have performed on the English Stage. "

“A new opera is being rehearsed in the Theater am Haymarket, and a certain Mrs. Cotsona is scheduled for one of her roles, an extraordinary Italian lady who is expected every day from Italy. It is said that she has a far better voice and more precise judgment than any of the other women from her homeland who have appeared on the stages of England. "

- The London Journal , London 1722

Although the outward appearance of the Cuzzoni was apparently not very advantageous, (as Horace Walpole described her as "short and squat, with a doughy cross face", "small, stocky, with a doughy, grumpy face" ) she had her first appearance in the Ottone instant success, as the Chamberlain of the Prince of Wales Friedrich Ernst von Fabrice wrote:

"Et la Maison remplie comme un Oeuff. […] Et il ya une si grande presse pour y aller qu'on vend deja à 2. ou 3. Guinées le Ticquet, dont le pri Courant est une demy-Guinée; de maniere qu'on en fait presque un Mississippi or une Sudsée. »

“The house was almost bursting at the seams. [...] and there is such a rush that tickets, which normally cost half a guineas , are already being traded for two and three guineas, so that it is like another soap bubble like that of the Mississippi or South Sea company . "

- Friedrich Ernst von Fabrice : Letter to the Count of Flemming . London 1723.

Charles Burney reports that her first aria in the opera, “Falsa immagine, m'ingannasti”, “fixed her reputation as an expressive and pathetic singer” (“established her fame as an expressive and moving singer”). In addition, John Mainwaring gives us the following famous anecdote, which describes Handel's dominance over his very characterful prima donnas:

“Having one day some words with CUZZONI on her refusing to sing 'Falsa imagine' in OTTONE; Oh! Madame, (said he) je scaisbien que Vous êtes une veritable Diablesse: mais je Vous ferai scavoir, moi, que je suis Beelzebub le Chéf des Diables. With this he took her up by the waist, and, if she made any more words, swore that he would fling her out of the window. "

“One day, Handel got into a dispute with Cuzzoni because she did not want to sing the aria, 'Falsa imagine', in the Ottone opera. ,Oh! Madame 'he said,' I know that you are a real devil, but I want to show you that I am Beelzebub, the devil colonel. ' - Then he took her in the middle of the body and swore that he would throw her out the window if she would utter more words. "

- John Mainwaring / Johann Mattheson : Memoirs of the life of the late George Frederic Handel. London 1760. Georg Friderich Handel's biography… Hamburg 1761.

Cuzzoni relented, and Handel's artistic instinct had proven correct - "Falsa immagine" became one of the season's hits, and Cuzzoni sang the aria often at benefit concerts throughout her long career. Not only the wealthy were so taken with it that they gladly paid 50 guineas per ticket, also in the cheap seats and in the gallery, where servants and lackeys were allowed to experience the performance for free, such a storm of enthusiasm broke out that the theater management had to act in order to be able to guarantee the safety of the public:

“Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen's Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up. "

"Due to complaints to the Royal Music Academy that there was recently a riot in the gallery for servants, which interrupted the performance, it is hereby announced that the gallery will be closed in the event of further riots in these tiers."

- The Daily Courant. London 1723.

Apparently this threat did not have the desired effect, because in a later performance a stable boy in the gallery shouted out loud: “ Damn here! She has got a nest of nightingales in her belly! "(" Cursed woman! She has a whole nightingale's nest in her body! ")

libretto

The libretto created Nicola Francesco Haym based Dresdner Teofane : the seal of Stefano Benedetto Pallavicino , which had set Lotti. It has been noted at times that Haym's contribution to the new libretto would not be too great. For example, he took his preface to the textbook, which is intended to introduce the plot and the historical context, almost entirely from Pallavicino's “Argomento” (“Preliminary Remark”). Eighteen aria texts are only occasionally changed, as is an accompaniment recitative and the two duets , which make up more than half of the numbers in the opera. However, a model that was written for representational purposes at the royal court, and on the occasion of a great festival of the high nobility and is intended to pay homage to this, is not of use for a bourgeois theater like in London. Haym therefore had to give the libretto a completely different character. He did this primarily through the narrative recitatives. In total, a third of the verses fell victim to the red pen, not only the references to the wedding or reflections on the code of conduct at court, but also a whole supporting role (Isauro) was deleted. What was left of the libretto was only loosely connected with each other and it took Handel's emotional music to create a dramaturgically comprehensible plot. Handel was also able to score with his outstanding ensemble of singers and so Ottone had its successful premiere on January 12, 1723 at the King's Theater .

Cast of the premiere:

Ottone initially had fourteen performances, significantly more than Radamisto and Il Floridante in previous seasons. This also included a benefit evening for the Cuzzoni on March 26, 1723. The opera was also performed six times in the following season. According to a message from the London press of April 1723, Ottone was even to be performed twelve times a year later in Paris (together with Giulio Cesare in Egitto ). Textbooks had even been printed for it, but for reasons unknown to us, these performances did not take place. What was left of the project were concert performances of Ottone and Giulio Cesare in a private setting in the house of the financier and art patron Pierre Crozat in the summer of 1724. There were further revivals of the opera by Handel in 1726 (ten performances), 1727 (two) and 1733 (four). Altogether, Ottone became one of the most popular operas of his career with 34 guaranteed performances under the direction of the composer, only surpassed by the 53 performances of Rinaldo and the 38 of Giulio Cesare in Egitto . Even the rival company of the Royal Academy, the " Opera of the Nobility " ("Noble Opera "), Ottone performed five or six times in December 1734. Senesino and the Cuzzoni sang their old roles. Farinelli took on the role of Adelberto, but he sang the arias not with Handel's original music, but with those that were taken from Handel's other operas.

Soon after its first performance in London, the work was performed in August 1723 and February 1725 in Braunschweig under the direction of Georg Caspar Schürmann , and from May 15, 1726 under the title Otto for six performances in 1726, 1727 and 1729 in Hamburg am Theater Given goose market . For the Hamburg series, Johann Georg Glauche wrote the German recitatives, which Georg Philipp Telemann set to music, who also arranged the opera musically and was director.

The next production of the Ottone in Germany under the title Otto und Theophano with the premiere on July 5, 1921, were five performances at the Handel Festival in Göttingen . It took place in German under the direction of Oskar Hagen . The role of Adelberto was sung by a tenor. Hagen's version was extremely popular and was performed a total of 64 times in many German and Austrian cities by 1928. The first performance of the piece in historical performance practice was again seen on June 4, 1992 at the Göttingen Handel Festival, this time with the Freiburg Baroque Orchestra under the direction of Nicholas McGegan .

action

Historical and literary background

Otto II and his wife Theophanu, crowned and blessed by Christ. Ivory relief tablet, Milan (?), Around 982/983 ( Musée national du Moyen Âge , Paris)

The historical background and, at the same time, the prehistory of the plot are both German and Eastern Roman history, after the western empire had died out in 924 with the death of Berengar I of Italy. The struggle for power was to determine Italian history for almost half a century. First, the dispute between Hugo I and his son Lothar II on the one hand and Berengar II , the margrave of Ivrea , on the other, took place before the Frankish King Otto I expressed his interest in the Lombard crown, which gave him the chance Emperor concealed, discovered. By marrying Lothar's widow, Adelheid , who was not yet twenty years old , he finally became king of the Longobards in Italy in 951 . But because of uprisings in the country Otto's power base, even weakened by a serious illness, was more than crumbling. Berengar von Ivrea, who formally held Italy as Otto's fief , used this weakness to expand his position. Nevertheless, Otto was in 962 by Pope John XII. crowned emperor, the political situation remained unstable afterwards. In order to consolidate his power, Otto now had to clarify his relationship to the older Eastern Roman-Byzantine empire. A marriage connection with the glorious Macedonian dynasty in Byzantium promised both a solution to the two emperor problem , a clarification of the territorial claims of both powers in Italy within the framework of an alliance of friendship, and legitimation and splendor for his son Otto II and his ruling house.

Neither Otto I nor Berengar appear in the libretto, but are definitely present there: Berengar on the one hand through his widow Willa , who is called Gismonda in the opera, and through his son Adalbert II (Adelberto); Otto I, on the other hand, through his son Otto II (Ottone), who he made co-king in May 961, and his efforts to stabilize the new empire for a reconciliation with Byzantium, which resulted in the recognition of the German emperor by Ostrom, the marriage of his son to the princess Theophanu (Teofane) was sealed in 972.

Episodes of Eastern Roman history also flow into the prehistory and plot of the opera: Basilio, who is up to mischief in the libretto as a corsair in the Mediterranean , is the later Emperor Basil II. He was the eldest son of Romanus II , who had him as a toddler in 960 made co-emperor. His mother Theophanu the Elder ruled after his poisonous death in 963, initially with the help of the eunuch Joseph Bringas , but soon had to give way to the successful general and later (co-) emperor Nikephoros II. Phocas . He married Theophanu the Elder and, as regent, led the affairs of government for the still underage Basil and his brother Constantine . Throughout his youth, Basil was in the shadow of Nikephoros and his successor as (co-) emperor and regent, General Johannes Tzimiskes . Both emperors are mentioned in the "Argomento". Basil's disappearance from the public eye during this period probably gave rise to the pirate story in the libretto. After all, from 985 he was ruler of Byzantium. The Theophanu of the opera was by no means like Basil's sister in the libretto, but his niece. The name of Adelberto's fiancé Matilda seems made up, even though Otto II actually had a sister ( Mathilde von Quedlinburg ) and a cousin of this name from his aunt Gerberga's marriage to King Ludwig IV of West Franconia . Perhaps it was the identity of names that brought Pallavicino to the invention of this role: Adalbert II of Ivrea married a Gerberga, the daughter of Liétald II of the Count of Mâcon .

first act

Courtyard in the palace. Gismonda and her son Adelberto are deep in conversation: Gismonda wants her son to become King of Italy. Together they draw up a plan on how to do this. At the same time they want to take revenge on Ottone, who stole the crown from Berengar, her husband. Adelberto reports that the Byzantine princess Teofane, Ottones bride, will soon arrive in the port of Ostia on her way to Rome . Since Teofane does not yet know her bridegroom, Gismonda suggests that Adelberto intercept her and introduce himself to her as Ottone. Since the real Ottone was stopped by the notorious pirate Emireno on the high seas and embroiled in a battle, he would have enough time to quickly marry Teofane. In one day Ottone would lose the bride and Italy. When Teofane reaches Rome, Adelberto hurries to meet Teofane and greets “his” bride. But this is clearly irritated. She has a portrait of her bridegroom, with whom she fell in love, but on it Ottone looks very different from the man facing her now. Adelberto notices Teofane's growing insecurity and as a result presses for an immediate marriage, which she refuses. Left alone, she looks at the portrait again and suspects that something is wrong, since the man who greeted her is neither as beautiful nor as sublime as the portrait would lead you to believe.

Gazebo on the beach. Ottone defeated the pirate Emireno and captured him. Now he decides not to judge him immediately, but to take him to Rome to leave the judgment to his father. Emireno acts up and claims, without revealing it, that he is a much more important person than anyone would think. Ottone has him taken away. When his cousin Matilda arrives on another ship, she brings bad news: Teofane had reached Rome, but during his absence Adelberto had himself proclaimed king. Although this is her fiancé, the betrayal would scream for revenge. So they decide to split the troops and invade Rome from two sides. One after the other, they set off after Ottone pondered longingly to his lover Teofane and Matilde about their dilemma between loyalty to their bridegroom and their anger over his betrayal.

Throne room in the palace. The insidious Gismonda poses to Teofane as the mother of "Ottone". Teofane replies suspiciously that she had no idea that she would find Empress Adelheid , Ottone's mother, here in Rome. A heated conversation develops, from which Teofane draws the conclusion that all coming events are met with the greatest distrust. When Teofane mentions that Ottone prevented Gismonda and Adelberto from appropriating the crown of Italy at the time, Gismonda almost suffocates on her hidden anger.

Adelberto appears in regal robes to organize the wedding. As he is about to shake hands with the Byzantine princess, Gismonda rushes in: Now is no time to get married, because the fickle Romans have opened the city gates to Ottone and his troops. Now Adelberto must defend his rule. Adelberto leaves the disturbed Teofane, who no longer understands anything, behind: Ottone has invaded the city? And then who was this man who was about to marry her? And the woman who pretended to be Ottone's mother?

In the streets of Rome, the German soldiers, led by Ottones, inflict defeat on Adelberto's Lombard warriors. Adelberto is also disarmed and taken to the dungeon. There he is supposed to report under torture how he brought Teofane into his power and where she is now. Defiantly he says that no torture could bring him to this, otherwise Ottone had come one night early, otherwise he would have married his bride himself and had established his rule. Ottone remains confused with the question of whether Adelberto is his rival. He orders a ceasefire and forgiveness for all conspirators for the city of Rome and orders that his fiancée be found.

Second act

Courtyard in the palace . On the way to the dungeon, Adelberto meets Matilda and Gismonda. While Matilda accuses him of infidelity, he lets her in on his plans he has with Teofane. Gismonda is upset that her son has been denied the honorable death in battle and that he is now thrown into dungeon instead. When he is led away, both women confess that they still love and want to save him. Matilda's suggestion to plead for mercy at Ottone's feet, but Gismonda indignantly refuses. Even so, Matilda rushes off to find Ottone.

It is only by chance that Teofane and Ottone are supposed to meet for the first time, but both can only guess who they are looking at. Before they can clear it up, Matilda throws herself on the floor in front of Ottone and asks for mercy for Adelberto. Teofane misunderstood the content of the conversation: she is surprised to see a young woman who is apparently so familiar with her fiancé, who now, as she is crying, also hugs and comforts her. She thinks she is a rival. When Ottone finally wants to greet Teofane, she jealously rejects him and accuses him of infidelity. Ottone, on the other hand, accuses her of being ready to marry Adelberto too quickly. She goes out indignantly, while he hopes for an early reconciliation.

Garden with fountain and grottoes near the Tiber. Teofane is alone at night. She compares her gloomy mood to the darkness of the night. Emireno and Adelberto appear from an underground passage. They escaped from the dungeon with the help of a route map leaked to them by Matilda. Now they want to take a boat across the Tiber to reach the sea as quickly as possible. When they hear voices, they hide: on the one hand, it is Matilda who wants to meet the fugitives and, on the other hand, Ottone, looking for his "lover", which Teofane, in secret, now misunderstands as a declaration of love to Matilda. When Matilda sees Ottone, she lures him away to protect Adelberto and Emireno. Meanwhile, Teofane is discovered by Adelberto, who takes her under his control and pulls the now unconscious with him. When Matilda returns, everything is quiet, and she and the Gismonda, who has arrived, are happy about the prisoners' successful escape.

Third act

Royal apartment. Ottone is lost in gloomy thoughts that he has still not found Teofane when Gismonda appears triumphant and announces that her son and Emireno had managed to escape. Ottone suspects that Teofane is in their power and orders his soldiers to look for her.

In a forest near the stormy sea . At the mouth of the Tiber, the fugitives get caught in a storm and save themselves on land. While Adelberto is looking for shelter, Emireno asks Teofane about his name and origin. When she also tells that she is the daughter of the murdered Byzantine emperor, Emireno wants to hug her delightedly, which she sees as a renewed attempt at violence, and Adelberto, who has just returned, understands this completely wrongly. He goes after Emireno, but is defeated and is led away by him in chains. He promises the desperate Teofane soon happiness, which is once again misunderstood by her, because she again fears that the corsair will do her violence. But her mood turns for the better when Emireno identifies himself as her brother Basilio, who was banished from the Byzantine court and became a pirate. Before he leaves, he puts Adelberto under her orders.

Courtyard in the palace . In Rome, Matilda Ottone confirms that Adelberto took Teofane with him when he escaped. Gismonda commented on her offer to recapture the refugees and punish Adelberto himself with the sneering revelation that Matilda herself organized the escape. While Matilda promises to make amends for her betrayal and kill Adelberto, Emireno appears with the captured Adelberto. Ottone instructs Emireno to judge Adelberto now, but before the soldiers can shoot their arrows at him, Matilda falls at him with a dagger to do it herself. When he asks for forgiveness, however, she does not have the heart. When Gismonda now wants to kill himself, Teofane appears and, now shaking hands with Ottone, forbids any bloodshed on her wedding day. Ottone now also learns that Emireno is her brother and rightful heir to the throne of the Eastern Roman Empire. Happy now, Ottone forgives all who are guilty. Gismonda regrets her actions, Matilda forgives Adelberto, and Adelberto swears eternal loyalty to both her and Ottone. Everyone is delighted that peace is now returning.

music

It is impossible to describe a valid version of the opera, since these were in a constant flow and merged into one another. The changes to the original concept, which Handel made as a result of the sensitivities of the singers and their various cast positions, can be traced on the basis of the records of the opera. Even before the first performance, ten arias were deleted and four arias rewritten. The overture was probably never performed in the form in which it is in the autograph . Since the first two acts of the director's score (“hand copy”) are lost and therefore other sources have to be consulted about the final image of the performance, only the prints by John Walsh (1723), the various contemporary copies and the Hamburg version In the opera, as arranged by Georg Philipp Telemann, concrete evidence can be obtained that after the first part, the Maestoso introduction, the fourth movement followed and only then the third piece, the Gavotte, concluded the overture. The Allegro of the autograph (2nd movement) was later transposed by Handel for the overture to Giulio Cesare in Egitto and redesigned for this purpose. The original final movement (in the autograph it is in the 4th position) with the gavotte as the finale now functioned as the fugue of the Ottone overture. For the benefit evening of the Cuzzoni on March 26, 1723 Handel composed three new arias and a new scene.

For the performances in 1726, when the parts of Gismonda and Matilda were swapped in voices, Handel added another five arias. When the work was resumed in 1733, the following changes were made: Handel set up the Gismonda and Matilda roles for the original voices. The part of Ottone was redesigned for Senesino's successor Giovanni Carestini : in addition to a new Accompagnato recitative, he wrote higher alternative notes in various arias, transposed them into other keys (usually one note higher) and also changed some passages in the recitatives. The role of Adelberto was now sung by castrato Carlo Scalzi , known as “Il Cichione”, for whom Handel inserted two arias from Il Muzio Scevola and Lotario and made various transpositions. A new duet for the second act was also planned. Since the revival of Ottone was originally planned for the spring of 1733, there is a further arrangement for a completely different line-up with Senesino , Anna Maria Strada del Pò, Antonio Montagnana , Celeste Gismondi , Thomas Mountier and Francesca Bertolli , but this will not be realized could. The old version of a number of arias by Teofane in the handwriting of Johann Christoph Schmidt jun. goes back to this occasion or even dates back to 1727, when a resumption of the opera had to be postponed due to an illness of Faustina Bordoni and Cuzzoni. The introduction to scene 4 of the first act, which is required in Handel's autograph with the note “Concerto”, is completely notated in Telemann's Hamburg version. An overview of the order of changes and multiple versions in Ottone are given by John Merrill Knapp and Winton Dean (see literature ).

orchestra

Recorder , two oboes , two bassoons , strings, basso continuo (violoncello, lute, harpsichord).

Discography

literature

Web links

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

Individual evidence

  1. ↑ Winton Dean: Review by C. Steven LaRue: "Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728" . In: Music & Letters , May 1996, No. 77, p. 272 ​​ff.
  2. ↑ handelhendrix.org
  3. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , p. 435.
  4. ^ 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 978-3-7618-0717-0 , p. 107.
  5. ↑ a b c d Christopher Hogwood: Georg Friedrich Handel. A biography (= Insel-Taschenbuch 2655). Translated from the English by Bettina Obrecht. Insel Verlag, Frankfurt am Main / Leipzig 2000, ISBN 3-458-34355-5 , p. 144 f.
  6. ↑ a b Christopher Hogwood: Handel. Thames and Hudson, London 1984, Paperback Edition 1988, ISBN 978-0-500-27498-9 , p. 83.
  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 978-3-7618-0717-0 , p. 113.
  8. ^ Charles Burney: A General History of Music: from the Earliest Ages to the Present Period. Vol. 4, London 1789. Reproduction true to the original: Cambridge University Press 2010, ISBN 978-1-108-01642-1 , p. 287.
  9. ^ John Mainwaring: Memoirs of the life of the late George Frederic Handel. R. and J. Dodsley, London 1760, p. 111 f.
  10. ^ Johann Mattheson: Georg Friderich Handel's biography together with an index ... Hamburg 1761. Reprint, Deutscher Verlag für Musik, Leipzig 1978, p. 84.
  11. ^ 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 978-3-7618-0717-0 , p. 113 f.
  12. ^ Fiona McLauchlan: Lotti's "Teofane" (1719) and Handel's "Ottone" (1723): A Textual and Musical Study. Music & Letters, August 1997, No. 78, pp. 349-390.
  13. ^ Bernhard Jahn: Ottone, Rè die Germania. In: Hans Joachim Marx (Hrsg.): The Handel Handbook in 6 volumes: Das Handel-Lexikon , (Volume 6), Laaber-Verlag, Laaber 2011, ISBN 978-3-89007-552-5 , p. 546.
  14. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , pp. 437, 501.
  15. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , p. 444.
  16. ^ Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 262 ff.