Partenope (Handel)

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Work data
Original title: Partenope
Title page of the libretto, London 1730

Title page of the libretto, London 1730

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Silvio Stampiglia , La Partenope (1699)
Premiere: February 24, 1730
Place of premiere: King's Theater , Haymarket, London
Playing time: approx. 3 ¼ hours
Place and time of the action: Naples , mythical time
people
  • Partenope, queen of the city of Partenope ( Naples ), loves Arsace ( soprano )
  • Arsace, Prince of Corinth , once loved Rosmira and now Partenope ( old )
  • Rosmira, Princess of Cyprus , engaged to Arsace and left by him, disguised in Armenian robes under the name "Eurimene" (old)
  • Armindo, Prince of Rhodes , loves Partenope (Alto)
  • Emilio, Prince of Cumae , loves Partenope ( tenor )
  • Ormonte, commander of the Partenopes bodyguard ( bass )
  • Priests, warriors, guard, servants, people
Parthenope: Neapolitan coin, 4th century

Partenope ( HWV 27) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Händel . It is the second opera for the second opera academy founded by Handel and Johann Jacob Heidegger in 1729 . The basis and eponymous is the story of the mythical founder of the ancient city of Partenope in Magna Graecia , the nucleus of the later Neapolis and today's Naples , and her three rival lovers, who crosses with the story of a vengeful woman who desperately wants her unfaithful lover back which is now in the clutches of the Partenope.

Emergence

After the collapse of the first opera academy in 1729 and the founding of a new commercial opera company by Heidegger and Handel in January 1730, the debut work for the New Academy, Lotario , was unsuccessful because it ties in with the great, heroic style of Handel's works for the first academy - the one that the London public had not been able to make friends with before. But Handel did not give up: with his usual flexibility, he changed his approach in Partenope . Presumably he had realized that a lighter, more melodic style was desired. The heroic clichés with which he had worked in Lotario and earlier operas are now mocked. The stereotypical situation “woman disguised as a man”, for example, almost becomes a farce when the hero is only willing to duel with his alleged adversary (of course the heroine), when both undress to their belts. Military and combat music is used in such an excess that it is difficult to take it seriously. Handel handles the more contemplative moments with care.

On January 14th, the first act and on February 12th, 1730 the entire score of the Partenope was completed ("Fine dell 'Opera | GF Handel. | A Londres | ce 12 de Fevrier | 1730"), and twelve days later, on February 24th, the first performance took place at King's Theater on London's Haymarket.

Cast of the premiere:

libretto

The libretto La Partenope by Silvio Stampiglia , who worked for a time as the imperial court poet in Vienna , was composed for the first time by Luigi Mancia for Naples in 1699 , and in the course of half a century the text has been used no fewer than sixteen times set, u. a. by Antonio Caldara , Antonio Vivaldi (as Rosmira ) and Leonardo Vinci (under the title La Rosmira fedele ) and experienced at least 36 productions in the music centers of Europe during this time.

Handel's text is not based, as might be expected, on one of the more recent versions of the story, but on the libretto which Caldara used in his setting for the Venice Carnival season in 1707/08. It is possible that Handel had heard the opera at the time. He adopted 22 of his 31 aria texts from this template. But there is not only this proximity to Caldara, texts from the Mancia setting can also be found in Handel's score. It is quite possible that Handel heard Vinci's La Rosmira fedele, who wrote the opera in 1725 for the carnival there, during his recent stay in Venice , and that this performance brought the subject closer to him: Vinci's textbook, however, plays for Handel's libretto not matter. That he knew his opera, however, proves the fact that he took seven arias from this into the pasticcio L'Elpidia, ovvero Li rivali generosi in the same year. At least Vinci's score or the textbook will have been among the many scores and textbooks that, as we know, Handel brought back from Italy.

The template for Handel's opera was revised by an unknown hand. Despite the innovations in the musical as well as in the choice of material, the new opera was again unsuccessful: it was only run seven times.

Pier Leone Ghezzi: caricature of Bernacchis (1731)

The pasticcio Ormisda , used as a makeshift at the beginning of April , with music by Vinci, Hasse and other “moderns”, was far more successful, although Mrs. Pendarves , Handel's neighbor on Brook Street and lifelong supporter, rated it “very heavy” (“very cumbersome ") Found. It became clear that Bernacchi was unable to fill the gap left by Senesino's absence. Handel was forced to resume negotiations with his former star for the next season. Francis Colman , British envoy in Florence, and Owen Swiney , who had left England in 1713 and now lived in Italy, acted as mediators . In a letter dated June 19, Handel instructed Colman to hire a soprano, who

«[…] Proposer also summarize le Role d'home bien que celuy de Feme. »

"[...] must give male and female roles as well."

- Georg Friedrich Handel : Letter to Francis Colman. London, June 19, 1730.

He asks Colman too

«[…] Prier de nouveau qu'il ne soit pas fait mention dans les Contracts du premier, second, ou troisieme Rolle, puisque cela nous géne dans le choix du Drama, et est d'ailleurs sujet a de grands inconveniens. »

"[...] again that in the contracts there is no mention of the first, second or third roles, as this hinders us in the choice of the pieces and is also a cause of great inconvenience."

- Georg Friedrich Handel : Letter to Francis Colman. London, June 19, 1730.

In the following season (1730/31) Partenope was repeated seven times; for Bernacchi, who has since consequently left, Senesino, who has meanwhile returned to London, took over the roles of Arsace. Handel also had to part with his old school friend from Halle's days, the bass player Riemschneider. His performance could not keep up with the standard on the London stage. A renewed resumption of the opera, now in the repertoire of the Coventgarden Theater , took place on January 29, 1737 (four performances) for the third season of the so-called third opera academy.

Already in February 1731 appeared Partenope in Braunschweig on stage, with guest appearances in Salt valley , the summer residence of Elisabeth Christine of Brunswick-Wolfenbüttel , and Wolfenbüttel, led by Georg Caspar Schürmann , and from 28 October 1733 to 1736 led to the opera Partenope at the Hamburger Oper am Gänsemarkt with a German translation of the recitatives by Christoph Gottlieb Wend at least 22 times. Georg Philipp Telemann was the musical director of this performance . Reinhard Keizer set the German recitative Wends to music.

The first production in modern times was on June 23, 1935 at the Göttingen Handel Festival in German (text version: Emilie Dahnk-Baroffio), by the Academic Orchestra Association under the direction of Fritz Lehmann . In the original language and historical performance practice , Partenope was given for the first time in concert form in connection with a record production of the work on June 11, 1979 in the broadcasting hall of the Cologne Funkhaus with Krisztina Laki (Partenope) and René Jacobs (Arsace) in the main roles. La Petite Bande played under the direction of Sigiswald Kuijken .

action

Charles Meynier : Les Nymphes de Parthénope ( Louvre )

In the libretto, the 11th chapter of the first book by Giovanni Antonio Summontes Istoria della Citta e Regno di Napoli is named as the source. The four volumes of this work appeared between 1601 and 1643 and in a second complete edition again in 1675. However, the chapter mentioned only mentions the founding of Naples. The plot of the opera, however, is fictitious.

"Argomento"

“Fu Partenope figlia d ' Eumelio Rè di Fera in Tessaglia , partissi da Calcide dell'Isola d' Euboa oggi Negroponte , sequendo l 'Augurio d'una Colomba, e fece edificare una Città sulle sponde del Mar Tirenno , che fù detta Partenope , e poi fù chiamata Napoli. Ciò troverai nel cap. XI. del primo Libro dell 'Istoria della Città e Regno di Napoli di Gio. Antonio Summonte. Il resto si finge. "

"It was Partenope, the king Eumelio daughter of Fera in Thessaly , which the oracle of a dove following Chalkis on today Negroponte called island of Evia left and a town near the coast of the Tyrrhenian Sea was built, the Partenope and later Naples called has been. This can be found in Chapter XI. of the first book in the history of the city and kingdom of Naples by Gio. Antonio Summonte. The rest is invented. "

short version

First act. Several princes court the hand of Queen Partenope. Her favorite is Arsace from Corinth . However, she does not know that it was because of her that he left his former fiancée Rosmira. Armindo from Rhodes, however, hardly dares to confess his love to Partenope. In addition, the Armenian Eurimene arrives - in reality, the disguised Rosmira who wants revenge on Arsace and makes him swear not to reveal her identity. Eurimene / Rosmira also pretends to love Partenope. Emilio from Cumae threatens war if Partenope does not accept his advertisement. Since she refuses, a battle is inevitable. Partenope himself takes command of their troops.

Act II. During the fight, Armindo saves them from the enemy. Arsace in turn saves Eurimene and takes Emilio prisoner. At the victory celebration, Eurimene / Rosmira claims victory for themselves and defames Arsace, who is unable to defend himself because of his oath. The angry Partenope has Eurimene arrested. Arsace stands up for him and obtains his release. His attempts to reconcile Rosmira are unsuccessful. The others are confused about the strange relationship between Arsace and Eurimene.

Act III . Eurimene reveals Arsace's past to the queen and the others and explains that he himself was sent by Rosmira to challenge Arsace to a duel. Partenope agrees. Eurimene is supported by Armindo, while Emilio is on Arsace's side. Before the fight, Arsace insists that both parties fight shirtless. So he forces Rosmira to reveal her identity without breaking his oath. This clears the way for a happy ending: Partenope accepts Armindo's advertising, Rosmira and Arsace are reconciled, and Emilio is given freedom.

first act

Festively decorated district by the sea; in the middle an altar with a statue of Apollo

Scene 1. In a public ceremony, Queen Partenope asks the god Apollo to protect the city she founded (now Naples). The people cheer her (chorus: "Viva viva Partenope viva").

Scene 2. Partenope has two admirers, the princes Arsace of Corinth and Armindo of Rhodes. Arsace left his fiancée Rosmira, the princess of Cyprus , because of her. He is surprised when a foreign Armenian appears who looks astonishingly similar to him. The Armenian claims his name is Eurimene and that he was shipwrecked in a storm. He asks Partenope for help because he lost all of his property in the accident.

Scene 3. Partenopes Captain Ormonte reports that parts of the country have been occupied by the troops of neighboring Cumae. Their leader Ormente had sent a messenger and wanted to speak to Partenope. This asks Arsace to come along (Arie Partenope: "L'amor ed il destin"). Arsace's thoughts, however, still apply to the strange resemblance of Eurimenes to Rosmira (Aria Arsace: “O Eurimene ha l'idea di Rosmira”).

Scene 4. Eurimene / Rosmira hears Armindo about the conditions at Partenope's court. She learns that Armindo loves the queen, but that she prefers his rival Arsace. She asks Armindo to reveal his love to Partenope (Aria Rosmira: "Se non ti sai spiegar"). Armindo decides to follow Eurimenes advice (Aria Armindo: "Voglio dire al mio tesoro").

Royal hall

Scene 5. Arsace returns and confronts the supposed Eurimene. Rosmira does not deny that she was his former bride. Although Arsace claims that he still loves her, she doesn't believe him. She is even ready to give him his solicitation for the throne of Naples, but he has to swear to keep her identity secret under all circumstances (Rosmira: “Un altra volta ancor”). Arsace notes that he still has feelings for Rosmira (Arsace: "Sento amor con novi dardi").

Scene 6. Partenope makes sure at Ormonte that her troops are ready to fight (Ormonte: “T'appresta forse Amore”).

Scene 7. Armindo hesitantly declares his love for Partenope and withdraws without waiting for an answer.

Scene 8. Partenope tells Arsace about the feelings of Armindo, to whose loyalty she owes much, although her love is only to him, Arsace (Duettino Arsace / Partenope: “Per te moro”).

Scene 9. When Eurimene / Rosmira arrives, Partenope tells him that Arsace is her favorite. Eurimene pretends to be shocked that he has fallen in love with Partenope himself. Partenope cannot give him hope, but instead declares her love for Arsace (Arie Partenope: “Sei mia gioia”). Rosmira accuses Arsace of his infidelity and swears vengeance. Arsace cannot choose between the two women (Arie Arsace: "Dimmi, pietoso ciel").

Royal apartment

Scene 10. Ormonte leads Emilio to an audience with Partenope, in which Eurimene, Arsace and Armindo also take part. Emilio assures Partenope that he did not come as an enemy, but wanted to ask for her hand because he loved her. But if she refuses, he will resort to gun violence. Since Partenope rejects him with disgust, Emilio prepares for the war with confidence (Aria Emilio: “Anch'io pugnar saprò”).

Scene 13. Since Arsace, Armindo and Eurimene cannot agree which of them may lead the Neapolitan troops, Partenope decides to take over the command as an Amazon (Arie Partenope: “Io ti levo l'impero dell'armi”).

Scene 14. Eurimene / Rosmira also wants to take part in the fight. Arsace tries to talk her out of it because he worries about her safety (Aria Arsace: “È figlio il mio timore”).

Scene 15. Armindo feels betrayed by Eurimene, to whom he has confided his feelings and who then woos his beloved himself (Aria Rosmira: “Io segno sol fiero”).

Second act

Field covered with tents where Emilio's army is stationed

Scene 1. The battle begins. Armindo saves Partenope from an attack by enemy soldiers. Emilio overpowers Eurimene / Rosmira in a duel, but Arsace is able to free them and in return take Emilio prisoner. So the victory is certain. All praise the victorious Queen Partenope (choir: “Vi circondi la gloria d'allori”).

Street of the city that leads to a gate of the city

Scene 2. Emilio laments his fate (Aria Emilio: “Barbaro fato, sì”).

Scene 3. Partenope appears in a large carriage to the victory celebration (Aria Partenope: “Care mura in sì bel giorno”). Partenope generously lets Emilio loosen the chains. Eurimene / Rosmira points out Armindo's heroism and adds that, on the other hand, Arsace in no way had distinguished himself after he had overpowered Emilio himself. Although Emilio contradicts this lie, Arsace does not show himself offended, but even leaves some of the glory to Eurimene. The others don't understand his behavior. Partenope has Eurimene arrested for his continued provocations against her lover (Aria Partenope: "Voglio amare infin").

Scene 4. Arsace tries in vain to induce Rosmira to reconcile. Armindo and Emilio are amazed at his supposed cowardice and the aggressiveness with which Eurimene reacts to him (duet Arsace / Rosmira: “E vuoi con dure tempre”).

Scene 5. When Armindo and Emilio ask Eurimene / Rosmira about it, to their amazement he defends the attacked man and compares his courage with that of a lion. She is overwhelmed by her own conflicting feelings (Aria Rosmira: “Furie son dell'alma mia”).

garden

Scene 6. Arsace asks Partenope to forgive Eurimene. Although he gives no reasons for this other than an "inexplicable impulse", the Queen shows herself graciously for his sake. Eurimene is banned from court, but released. Ormonte should expressly point out Arsace's intercession. Arsace is still unhappy (Aria Arsace: "Poterti dir vorrei").

Scene 7. Armindo reassures Partenope of his love (Aria Armindo: “Non chiedo, o luci vaghe”). She acknowledges his loyalty, but still prefers Arsace (Arie Partenope: "Qual farfalletta").

Scene 8. Eurimene / Rosmira promises Armindo his help. He should tell the queen that he wanted to reveal a secret to her. This will turn Partenopes heart away from Arsace and to him.

Scene 11. Although Arsace declares his love for Rosmira again, she finds that her revenge is not yet complete. Arsace feels shame, honor, sense of duty, love and passion at the same time (Aria Arsace: "Furibondo spira il vento").

Third act

garden

Scene 1. Armindo asks Partenope to receive Eurimene again to find out his secret. The queen agrees. Armindo and Emilio envy Arsace despite his current depression (Quartet Armindo / Emilio / Arsace / Partenope: “Non è incauto il mio consiglio”).

Scene 2. In the presence of the other princes, Eurimene / Rosmira reveals that Arsace once promised marriage to the Cypriot princess Rosmira and then left her in favor of Partenopes (Rosmira: "Arsace, oh dio, so"). She sent him (Eurimene) to Naples to challenge Arsace to a duel. Partenope, deeply disappointed by the behavior of her lover, now explains her love to Armindo and her contempt for Arsace (Arie Partenope: "Spera e godi, oh mio tesoro").

Scene 3. Eurimene / Rosmira asks Armindo to second him in the duel. Emilio, on the other hand, encourages Arsace (Aria Emilio: “La speme ti consoli”).

Scene 4. Rosmira rejects another attempt at reconciliation by Arsace (Aria Arsace: “Ch'io parta?”), Although she still feels love for him (Aria Rosmira: “Quel volto mi piace”).

Rural region

Scene 5. Partenope appoints Ormonte to referee the duel. Then she gives Armindo hope that her feelings could turn to him. Armindo is confident that he will finally see his wishes fulfilled (Aria Armindo: “Nobil core che ben ama”).

Scene 6. Arsace falls asleep exhausted (Arsace: “Ma quai note di mesti lamenti”).

Scene 7. While Rosmira watches the sleeping Arsace, she thinks about her feelings towards him (Accompagnato Rosmira: “Cieli, che miro!”).

Scene 8. Partenope observes that Eurimene does not insidiously stab her helpless enemy, but wakes him up. When Arsace accidentally mentions Rosmira's name, this intensifies Partenope's anger (Terzett Partenope / Arsace / Rosmira: “Un cor infedele”). Arsace is desperate (“Fatto è Amor un dio d'inferno”).

Scene 9. Armindo and Emilio look forward to the duel (Aria Emilio: “La gloria in nobil alma”).

The fenced place provided for the duel

Scene 10 (ultima). After Ormonte reads Eurimene's challenge, Partenope gives her consent to the fight. However, Arsace is reluctant to fight Rosmira. When the others accuse him of cowardice, he explains that they insist on a bare-chested fight. Rosmira cannot allow that. She publicly identifies herself as Rosmira. This resolves the conflict (Aria Partenope: "Sì, scherza, sì"). Partenope announces that she wants to marry Armindo, and Rosmira and Arsace get together again. Emilio is released. Although he does not become Partenope's husband, he maintains their friendship. Everyone cheers the happy ending (chorus: “D'Imeneo le belle tede”).

music

For Senesino's return in the 1730/31 season, Handel transposed a number of Bernacchi's arias one note lower. Handel also composed Seguaci di Cupido (No. 45b) for Senesino , which was sung in place of Partenopes aria Sì, scherza, sì (No. 45a). The changes that Handel had to make for the new production in 1737 mainly included the transposition of the parts of Armindo into the soprano section for Gioacchino Conti, known as “ Gizziello ”, and those of Ormonte to the old location for Maria Caterina Negri . Overall, however, these and other changes are not to be understood as improvements, but merely as an adjustment to new circumstances.

Success and criticism

“[The libretto is] the very worst book (excepting one) that I ever read in my whole life: Signor Stampiglia [...] endeavors to be humourous and witty in it: If he succeeded in his attempt, on any stage in Italy, 'twas, meerly, from a depravity of Taste in the audience - but I am very sure' twill be received with contempt in England. "

“[The libretto is] the worst book (except for one) I've ever read in my entire life. Signor Stampiglia [...] tries to be both humorous and funny: if he succeeded on a stage in Italy, it was only a testament to the bad taste of the audience, because I am very sure it would be despised in England become."

- Owen Swiney : Letter to Charles Lennox, 2nd Duke of Richmond . Bologna , August 13, 1726.

"[On the whole, the music is characterized by] greater accessibility of the musical, greater popularity of the melodic and a simplification of the orchestral composition."

- Albert Scheibler : All 53 stage works by Georg Friedrich Handel. Cologne 1995.

“Handel's Partenope score is a sophisticated sound miracle. The vocal numbers range from lyrical canzons to brilliant solo arias and four-part ensembles. With transverse flutes , [oboes, bassoon], horns, trumpets ... the orchestra offers an abundance of color options. "

- German press agency . February 20, 2011.

“[…] The aria 'Ch'io parta?' [...] is one of the line of 'otherwordly' slow movements in E major that lead to 'I Know that my Redeemer liveth'. It was a key in which Handel found a fatalistic quality, and Burney admits that this aria has 'no fault but brevity'. "

"[...] the aria 'Ch'io parta?' [(No. 36)] […] is one of those celestial, transfigured, slow movements in E major that eventually lead to 'I know that my Redeemer lives' [( Messiah No. 40)]. This key was fatalistic for Handel, and Burney admits that the only mistake in this aria is its brevity. "

- Christopher Hogwood : Trade. London 1984.

orchestra

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

Discography

literature

Web links

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

Individual evidence

  1. ↑ a b c d e Christopher Hogwood: Georg Friedrich Händel. 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. 170 ff.
  2. ^ Eduard Gröninger: Handel. Partenope. DHM GD 77109, Freiburg 1979, pp. 11-13.
  3. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 154.
  4. ^ Editing management of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (Hrsg.): Handel manual: Volume 4. Deutscher Verlag für Musik, Leipzig 1985, ISBN 3-7618-0717-1 , p. 179.
  5. ↑ 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. 180.
  6. ^ A b Bernd Baselt: Thematic-systematic directory. Stage works. In: Walter Eisen (Ed.): Handel Handbook: Volume 1. Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-7618-0610-8 (Unchanged reprint, Kassel 2008, ISBN 978-3-7618-0610-4 ) , P. 343.
  7. ^ Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 265 ff.
  8. ^ Handel Reference Database 1726
  9. ^ English National Opera: Programs, Parthenope , 12
  10. ^ Albert Scheibler: Complete 53 stage works by Georg Friedrich Handel, opera guide. Edition Köln, Lohmar / Rheinland 1995, ISBN 3-928010-05-0 , p. 476.
  11. ↑ news.de ( Memento from March 4, 2016 in the Internet Archive )
  12. ↑ Christopher Hogwood: Commerce. Thames and Hudson, London 1984, Paperback Edition 1988, ISBN 978-0-500-27498-9 , p. 94.