Poro

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Work data
Original title: Poro, Re dell'Indie
Title page of the libretto, London 1731

Title page of the libretto, London 1731

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : unknown
Literary source: Pietro Metastasio , Alessandro nell'Indie (1729)
Premiere: February 2, 1731
Place of premiere: King's Theater , Haymarket, London
Playing time: 3 hours
Place and time of the action: India , on the banks of the Hydaspes , on one side of which is the field camp of Alessandro and on the other side the castle of Cleofide, 326 BC. Chr.
people
> John Walsh , title page of the first edition (1731)

Poro ( HWV 28) is an opera ( Dramma per musica ) in three acts by Georg Friedrich Handel . It is the third opera for the second opera academy founded by Handel and Johann Jacob Heidegger in 1729, and after Siroe Handel's second opera, based on a text book by Pietro Metastasio . The main theme of the drama is the nobility that Alexander the Great exercised against Porus , the king of Paurava in India (in the western part of today's Punjab ), to whom he gave the kingdom and freedom as a repeatedly conquered and prisoner.

Emergence

Handel opened the second season of his second opera academy with the resumption of his operas Publio Cornelio Scipione and Partenope as well as the Pasticcio Venceslao . In the meantime it became clear that the former castrato Antonio Bernacchi was not able to fill the gap left by Senesino's absence - he had returned to Italy after the dissolution of the first Royal Academy . So 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 “has to give both male and female roles” (“proposer fasse le role d'home aussi bien que celuy de Feme”). 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.

On July 18, Swiney wrote from Bologna to Colman in Florence:

“I AM favored w th y rs of y e 15 th instant, & shall Endeav r to observe punctually w t you write about. I find y t Senesino or Carestini are dersired at 1200 G s each, if they are to be had; Im'e sure that Carestini is Engaged at Milan, & has been so, for many Months past: and I hear y t Senesino, is Engaged for y e ensuing Carnival at Rome.

If Senesino is at liberty (& will accept y e offer) then the affair is adjusted if Sig ra Barbara Pisani accepts the offer I made her, which I really believe she will.

If we can neither get Senesino, nor Carestini, then M r Handel desires to have a man (Soprano) & a woman contrealt, & y t The [sic] price (for both) must not exceed one Thousand or Eleven hundred Guineas, & that the persons must sett out for London y e latter end of Aug t or beginning of Septemb r , and y t no Engagem t must be Made w th one with t a certainty of getting the other.

Several of the persons recomended to M r Handel (whose names he repeats in y e letters I received from him this Morning) are I think exceedingly indifferent, & Im'e persuaded wou'd never doe in England: & I think shou'd never be pitch'd on, till nobody else can be had.

I have heard a Lad here, of a bt 19 years old, w th a very good soprano voice (& of whom there are vast hopes) who Im'e persuaded, would do very well in London, and much better than any of those mentioned in M r Handel's letter who are not already engaged in case you cannot get Senesino. [...]

Having not time to answer Mr. Handel's Letter, this day, I hope you will be so good as to let him know y t I shall Endeav r to serve him to the utmost of my power, & y t I shall do nothing but w t shall be concerted by you. "

"I received your letter of thanks on the 15th of this month, and I will endeavor to follow exactly what you write. I've heard that Senesino and Carestini are bidding 1,200 guineas each , if they are free at all. I know for sure that Carestini has an engagement in Milan, and has been for many months, and I hear that Senesino is committed to the next Carnival in Rome.

If Senesino is free (and accepts my offer) the deal is closed, provided that Signora Barbara Pisani also accepts my offer, which I think is likely.

If we can neither win Senesino nor Carestini, then Mr. Handel wants the engagement of a man (soprano) and a woman; the fee (for both) should not exceed a thousand or eleven hundred guineas, and the persons should not leave for London after the end of August or the beginning of September, and one should not be hired until the contract with the other has been secured.

Some of the persons recommended by Mr. Handel (whose names he quotes in his letter) are, I think, downright uninteresting and would never find approval in England; I mean, there is no way you should go for it while there are other options.

I have heard of a young man, about 19 years old, who has a very good soprano (and who has great hopes for); I am convinced that it would be very successful in London; far more than anyone mentioned by Mr. Handel in his letter who has not yet been hired in case you don't get Senesino. [...]

Since I have no time today to answer Mr. Handel's letter, I hope you will be so kind as to let him know that I shall endeavor to assist him with whatever is in my power; that I will not do anything that has not been agreed with you. "

- Owen Swiney : Letter to Francis Colman, Bologna, July 19, 1730

The end of the story was that Senesino took advantage of his advantage and accepted an offer for 1,400 guineas - this went far beyond the estimated sum and meant a considerable risk for Handel; since this sum was no longer covered by the board, it was now dependent on the audience. In mid-October, Handel Colman reported:

«Monsieur, Je viens de recevoir l 'honneur de Votre Lettre du 22 du passeé NS par la quelle je vois les Raisons qui Vous ont determiné d'engager S r Sinesino sur le pied de quatorze cent ghinées, a quoy nous acquiesçons, et je Vtres humbles Remerciments des peines que Vous avez bien voulu prendre dans cette affaire [.] Le dit S r Sinesino est arrivé icy il ya 12 jour et je n'ai pas manqué sur la presentation de Votre Lettre de Luy payer a comple de son sâlaire les cent ghinées que Vous Luy aviez promis. »

"Sir, I have the honor of just receiving your letter of the 22nd [NS] from last month, from which I learned the reasons that you have determined to hire Mr. Senesino for fourteen hundred guineas, to which we give our consent. I offer my most devoted thanks for the efforts you have made on this matter. The said Mr. Senesino arrived here 12 days ago and I did not fail to pay him 100 guineas on presentation of your letter against his fee, which you had promised him. "

- Georg Friedrich Handel : Letter to Francis Colman. London, October 16, 1730.

On November 3rd, the new season with Scipione began , and: "The returned Senesino enchanted everyone." (" Senesino being return'd charm'd much. ")

But the year ended sadly for Handel: on December 16, his mother died. This was the situation in which Handel completed the Poro , which began in September . He composed the second act in just one week. This time the times of origin are given particularly precisely in the autograph : "Fine dell 'atto primo mercordi li 23 di Decembr 1730." - "Fine dell' Atto Secondo | GF Handel Decembr 30. ano 1730. "-" Fine dell 'Opera di Poro. a Londra gli 16 di Gennaro 1731. "

The immediate public success of the Poro, Re dell 'Indie is primarily due to the popularity of the castrato Senesino: The premiere on February 2, 1731 was followed by fifteen other performances.

Cast of the premiere:

libretto

As in Alessandro of 1726, in Poro , Handel turned to an episode from Alexander the Great's campaign in India . The model for the libretto was a dramma per musica by Pietro Metastasio entitled Alessandro nell'Indie , one of the most popular libretti of all time, which was premiered in Rome at Christmas 1729 in a setting by Leonardo Vinci . The fact that Handel had published an opera called Alessandro four years earlier apparently forced him to change the original title. In addition, Alexander the Great's focus on the Indian king also changed.

Almost at the same time as Handel, Nicola Porpora published his Poro in Turin , and in November of the same year Johann Adolph Hasse published his Cleofide in Dresden . Around 60 composers, including a. Giovanni Paisiello , Domenico Cimarosa and Luigi Cherubini set the libretto Metastasios to music until the end of the century, based on Jean Racine's tragedy Alexandre le grand from 1665 and Domenico David's libretto L'amante eroe , which was written in 1691 with music by Marc'Antonio Ziani in Venice was listed, is ajar. It is not known who arranged Metastasio's libretto for Handel under the new title Poro, Re dell'Indie . For it can Giacomo Rossi , but possibly Handel himself eligible or possibly Samuel Humphreys , who translated at this time the librettos for the academy into English and a kind of secretary post at held Haymarket Theater.

→ For a list of the other settings of the libretto see Alessandro nell'Indie .

This libretto shows how a classic Metastasian role hierarchy had to look like around 1730, one that complied with the rules and yet still offered scope for individual design: the conqueror Alessandro as ruler at the top is contrasted with the first lovers Cleofide and Poro. A second couple, Poro's sister Erissena and Gandarte, who is loyal to him, as well as Timagene, a confidante of Alessandro, who becomes a traitor out of envy of his successes, are subordinated to them.

In the following season (from November 23, 1731) the work was repeated four times with a slightly different line-up. The most important change was for the part of Timagene, whose arias had originally been deleted because the bassist Commano did not have great singing skills, now again three (albeit different) arias that Handel took from older operas. When the work was finally staged for the third time on December 8, 1736, after the performance date had been postponed several times due to an illness on the Strada, the version presented resembled a kind of pasticcio. This was given four times again.

In the years 1732 to 1736 (first performance on February 14, 1732) Poro was at least 27 times at the Hamburg Gänsemarkt Opera under the title Triumph der Grossmuth und Treue, or CLEOFIDA, Queen of India with a German translation of the recitatives by Christoph Gottlieb Wend listed. The musical direction of this performance was Georg Philipp Telemann , as Wend notes in the "preliminary report" of his printed text book:

"That our Herr Telemann put the German recitatives under grades, I do not need to report first, because such a great master is capable of doing something like this in his sleep, and consequently I almost injustice his otherwise high merits by reporting such a small one would."

- Christoph Gottlieb Wend : “Preliminary report” on the triumph of magnanimity and loyalty, or CLEOFIDA, Queen of India. Hamburg 1732.

In Braunschweig the opera called Poro ed Alessandro under the direction of Georg Caspar Schürmann , with three additional arias by the same, was on the program during the summer mass in August 1732. The first revival in modern times was also seen there: on April 21, 1928, the premiere of the German version of the opera, entitled König Porus (text: Hans Dütschke), conducted by Ludwig Leschetzky . This production was also broadcast by the State Radio Symphony during a guest performance in Copenhagen .

The first sound carrier production of Handel's Poro documents an adaptation of the opera in German by Heinz Rückert for the Landestheater in Halle ( Handel Festival Halle (Saale) ) in 1956. The opera was divided into seven pictures, the one intended by Handel Maintain the sequence of numbers and the three-act attachment. The Indian figures were given Indian names - Cleofide became Mahamaya, Erissena → Nimbavati and Gandarte → Gandharta - and the roles of Poro and Gandarte were transposed into baritone and bass registers. Rückert replaced the usual text repetitions in the arias of an opera seria with verses that were both based on the original and aimed at creating a coherent character. The Halle Handel Festival Orchestra played here under the direction of Horst-Tanu Margraf .

In the original language and historical performance practice , Poro was given for the first time in concert form in connection with a recording of the work on April 20, 1994 in the Salle Garnier in Monte Carlo . Europa Galante played under the direction of Fabio Biondi .

action

Charles Lebrun : Alexander and Porus (1673)

Historical and literary background

The story of Alexander the Great, who captured the Indian king Porus in the Battle of the Hydaspes and, impressed by his courage, released him and restored him to his rights, is told by various ancient authors, including Plutarch , whose Bíoi parálleloi (Parallel biographies) were widely read in the 17th and 18th centuries. In Quintus Curtius Rufus ' eighth book of the Historiae Alexandri Magni Regis Macedonum , this historical conflict in today's Punjab is reported in chapters 12 to 14. Cleophis (Cleofide), Poros' lover in the opera, is the main character of a historically completely different, parallel episode. According to the brief tradition in the 27th chapter of the fourth book of the Anabasis by the Alexander historian Arrian , the mother of King Assakenus fell after the conquest of Massaga in the winter of 327/326 BC. Into captivity of Alexander the great. Several of the ancient sources tell of her beauty, which perhaps even Alexander could not resist, but in any case she received the throne. She later gave birth to a son, whom she named Alexander. For Justin it is finally clear that Cleophis saved her throne by sleeping with Alexander after her surrender and giving birth to a son of the same name, which is why the Indians called her a royal whore ( scortum regium ). With Alexander's general Timagene the historical Koinos could be meant, both with regard to his militarily outstanding position in Alexander's army as well as his opposition to his king. The other roles are fictitious; the name Gandarte refers to the Indian people of the Gandarites mentioned by Plutarch , whose military superiority dissuaded Alexander from crossing the Ganges after the Hydaspes .

The historical facts are presented today in the following way: 334 BC. King Alexander III invades of Macedonia, based on the alliance treaties with the Greek states, into the Persian Empire. The troops of King Dareios III face only three times . the attackers: at Granikos in Asia Minor, at Issos at the Syrian Porte and at Gaugamela east of the Tigris , everywhere they are easily defeated despite their numerical superiority. 331/330 BC After the capture and devastation of the Achaemenid royal city of Persepolis , the Macedonians march to the edge of the then known world on the Pamir Plateau and in the east to the Indus , where the troops finally refuse to obey their king. 326 BC Alexander invades India , attracted by the legendary riches of the Nandas dynasty . On the way to Punjab he meets numerous small kingdoms and aristocracies in the northwest, some of whose rulers allied with him, such as B. King Taxiles , but sometimes bitterly fight him. Alexander fights against King Porus, whom he defeats despite the numerical superiority of the Indian troops and the use of fighting elephants. Forced to retreat by his own troops refusing to obey, Alexander leaves India; the conquered and tributary states regained their independence soon after his departure. 323 BC After a long and arduous retreat through southern Iran, Alexander dies in Babylon . Poros becomes 317 BC As a result of the turmoil of the Diadoch fights, treacherously murdered by the Macedonian governor of the neighboring province and military strategist Eudemos .

first act

"Exotic impenetrable jungle": The defeated Indians flee. The desperate King Poro wants to end his life with the sword, but is prevented from doing so at the last moment by his friend Gandarte, who reminds the king of his love for Cleofide (she is queen of another part of India) and the king exhorted to his duty to the country. As persecutors approach, Gandarte exchanges signs of royal dignity with Poro; Left behind alone, he justifies his bold action ( È prezzo leggiero , no. 2) and then flees.

But Poro did not manage to escape, he is provided by Alessandro's general Timagene. To Alessandro, who joins them, Poro poses as an Indian warrior named "Asbita"; He received from Alessandro the task of bringing the message to King Poro that - if King Poro were now defeated - he would show gentleness towards him. As a sign of this, Alessandro gives the warrior his sword, which he should bring to his king. Alessandro moves away with his companions: “Vedrai con tuo periglio”, Poro calls after his opponent (No. 3).

In the meantime, Poro's sister, the capricious young princess Erissena, has been caught and is now being shown to Alessandro. Alessandro meets the pretty little girl gallantly and knightly ( Vil trofeo d'un alma imbelle , No. 4). Not only Alessandro, but also his general Timagene is visibly affected by Erissena's charm; the advertising Timagene receives a fine ironic rebuff ( Chi veve amante , no. 5). Already in this scene Timagene reveals himself to be Alessandro's secret adversary, because he had to find out again that Alessandro always puts him in the shade - also when it comes to love.

Poro made his way to Queen Cleofide's residence; excited, he approaches his lover because he believes that she is betraying him. But Cleofide dispels his suspicions and demands from Poro trust. Poro confirms this with a holy oath ( Se mai più , No. 6). Completely surprising, some Greek soldiers bring Princess Erissena to Cleofide's residence, Alessandro magnanimously released her. Cleofide sends a greeting to the great Alessandro; she does this out of diplomatic wisdom, which, of course, the quick-tempered Poro is unable to understand. But Cleofide recalls the oath she took earlier and reaffirms her boundless love ( Se mai turbo , No. 7). As Cleofide leaves, new suspicion wells up in Poro; Gandarte steps in and tells his king about the successful deception (Alessandro takes him, Gandarte, to be the king) and about a conspiracy of the Greek army against the almighty Alessandro. But at this moment Poro's thoughts are only focused on Cleofide, who he assumes has just left for Alessandro. Poro ironically describes the Gandarte, who admonishes his duty to the fatherland, as a “reasonable thinker” and replies with a description of his constant love torment ( Se possono tanto , no. 8)!

No sooner has Poro left to follow Cleofide than Erissena bursts in very cheerfully and reports with flowering words of the strong impression that the magnanimous and educated Alessandro had made on her. Of course, Gandarte (who has long been in love with the young princess) feels hurt by such speeches. Angry , Erissena rejects her boyfriend ( Compagni nell'amore , No. 9). In his general tent, Alessandro meets Queen Cleofide, who has come to him to ask for mercy and protection for her Indian country. Alessandro is more captivated by the nature of this strange woman than the queen's diplomatic cleverness. Poro, who under the name "Asbita" demands a hearing to allegedly deliver a message from Poro, disrupts Alessandro's conversation with Cleofide; full of jealousy, he followed Cleofide on the way to Alessandro's tent. It is not very easy for Alessandro to suppress his feelings towards the beautiful Indian woman. But that doesn't stop him from praising Cleofide's beauty ( Se amor a questo , no. 11) before retiring to further statesmanship. Only now does the heated argument take place between Poro (who has just carefully observed what was going on) and Cleofide; Poro is bitterly reminiscent of Cleofide's oath of love, Cleofide feels wrongly accused of breach of faith (duet, beginning with the quote Se mai turbo / Se mai più , no.12).

Second act

After a few days, the Indian Queen Cleofile asked Alessandro with some companions to negotiate in her palace; Poro, however - in rising jealousy against Alessandro - gathered some soldiers around him and attacked the delegation of the Greeks from behind (this scuffle is described in the short Sinfonia , No. 13). The attack failed, however, and if Poro were caught, he would have to die with his life. In the face of great danger, the two lovers forgive each other ( Caro / Dolce, amico amplesso , no. 14). When Greek gunmen approach, Poro sees the only honorable way out as death, which he wants to give to his beloved and then to himself; but just as he is raising his sword against Cleofide, Alessandro steps in, who recognizes Poro as "Asbita". Through Timagene, the Greek soldiers demand severe punishment of the guilty party for this attack, “Asbita” is imprisoned, and Cleofide's requests are resolutely rejected by Alessandro ( D'un barbaro scortese No. 15). Alessandro orders the prisoners to be supervised by his general Timagene. Cleofide still has a lot to say to Poro, but she addresses her words only indirectly to Poro (disguised as a message that Timagene is supposed to bring to King Poro); she confirms her great love for Poro once again and admonishes him not to reveal himself as king ( Digli, ch'io son fedele , no. 16).

All of a sudden, Timagene sets his prisoner free and asks him to deliver a message to King Poro, in which he is informed of the ongoing conspiracy against Alessandro. Poro is astonished to see how Alessandro is being betrayed and expresses his thoughts in the parable of the helmsman who sleeps on a peaceful sea and is driven further and further off course onto the dangerous sea ( Senza procelle ancora si perde , no. 17).

Cleofide and Gandarte meet in the Cleofides residence. Gandarte learns what is going on around Poro; Alessandro suddenly approaches, Gandarte is hiding. Alessandro tells Cleofide that the soldiers are demanding the life of the queen for those killed in the attack on the Indians. There is only one way to save Cleofide's life: Alessandro proposes that she become his wife. When Cleofide refuses, Gandarte steps forward, describes himself as King Poro and offers himself as a sacrifice through which the uprising among the Greek soldiers can be quenched. Alessandro, deeply impressed by this masculine demeanor, moves away. Erissena brings terrible news: Timagene told her that Poro drowned in a river while trying to escape. Everyone is shaken, Cleofide is deeply affected ( Se il Ciel mi diride , no. 18).

Third act

“Garden at Cleofide's residence, nearby the Greek camp.” Poro meets his sister Erissena, who cannot believe that he is alive; he only thinks of taking revenge on Alessandro and initiates her into the plot directed by Timagene against Alessandro. Erissena is supposed to inform Timagene that he is ready to commit the murder; He breaks their resistance by urgently exhorting them to duty against the fatherland ( Risveglia lo sdegno , no. 22).

In the same place Alessandro meets the completely desperate Cleofide; she only longs for death and now offers herself to him as his wife, only to then die in the flames. Even Erissena (who is not allowed to tell anyone at Poro's behest that he is still alive) doubts Cleofide's unshakable love for Poro in view of this marriage offer. Cleofide, ready to die, answers her with confused phantasy images ( Se troppo crede , no. 23). Cleofide leaves; Alessandro, who comes back from a meeting with officers, meets Erissena in astonishment. She takes from his words that he knows about the conspiracy and discovers Alessandro the attack planned by Timagene; she hands him a letter she received from Poro earlier. Timagene is immediately summoned and exposed, but the wise Alessandro forgives his general (whom he can hardly do without here abroad and in war) and demands probation from him ( Serbati, a grandi imprese , no. 25).

Poro has learned of the failure of the conspiracy and asks the Gandarte accompanying him to kill him with a sword. Erissena notices them both and reveals Cleofides' plan to become Alessandro's wife. Poro collapses in furious bitterness, only the revenge plan on Alessandro keeps him going, then he wants to put an end to his life ( Dov'è? S'affretti , No. 26). His loyal friend Gandarte follows him, who goes on in painful confusion; he, too, is ready for life and takes a tender farewell to his beloved Erissena ( Mio ben, ricordati , no. 27). Erissena, left alone, torments the suspicion that she might not see her boyfriend anymore, but then she confides in the hope that everything will be fine after all ( Son confusa pastorella , no. 28).

“Indian temple.” The preparations for the marriage of Alessandro and Cleofide have been made; She calmly awaits the Greek king, but has already lit a sacrificial fire in the background, which she wants to confide in immediately before the wedding, because - as she once swore to Poro - she wants him (whom she still believes is dead is) following Indian custom as a widow through the flames into death. She reveals this plan when Alessandro appears in the temple ( Spirto amato , no. 30).

Poro, still thirsting for revenge, has watched all this with eager attention from hiding. Full of remorse and happiness, he falls at Cleofide's feet, revealing that Alessandro is the right Poro. Cleofide cannot believe that Poro is suddenly standing in front of her alive. Alessandro is deeply impressed by this loyalty until death: Cleofide and Poro should finally be happy with each other in freedom, yes, the great Greek emperor asks the Indian king for his friendship. All the entanglements and errors, the thoughts of death and revenge were released by the power of love. (Duet Caro, vieni al mio seno and Coro Dopo tanto penare , No. 31/32.)

music

First page of the final chorus (autograph)

The musical design of the Poro is characterized by its blooming wealth in a special way. The enlightened Handel brings his artistic ethos to life in an almost perfectly haunted music-dramatic language, with the passions of the protagonists in the foreground. The exotic title figure with its impulsive affectivity forms a clear antithesis to Alessandro's civilized affect control. The latter manifests itself in the regularly built da capo arias and the slight contrast between the A and B sections. Poro appears right at the beginning with the only Accompagnato recitative in the score, which underlines his desperation after the defeat by the Greeks; he believes the beloved Cleofide to be faithless, Cleofide - showing himself friendly to Alessandro for diplomatic reasons - is angry with Poro, who accuses her of infidelity; each quotes the one-time oath of loyalty or love of the other; this irony leads to an excited argument between both partners in short declamatory phrases, each of which leads to a monologue of despair running in parallel for both of them. Such is the beginning of the duet Se mai turbo / Se mai più (No. 12) in the first act. A masterpiece of musical and dramaturgical design, far removed from any template. No single example in the Poro ! The parable, Senza procelle ancora si perde (No. 17), accompanied by flutes and horns, and the Dov'è? S'affretti (No. 26), giving Senesino the most beautiful melody of this work, which Burney describes as "in a grand style of theatrical pathetic". The duet in F sharp minor Caro / Dolce, amico amplesso (No. 14) is all the more lyrical; with parallels of thirds and sweet dissonances, it expresses the newly found unity of the lovers after their marriage vows.

Cleofide's two arias in the second act are remarkable: in the intimate Digli, ch'io son fedele (No. 16), with a consumptive halftone motif, she conveys all the timagene that Poro cannot say herself. Cleofide then shows tragic greatness in the aria Se il Ciel mi diride (No. 18) in saraband rhythm and not least in her Arioso Spirto amato (No. 30), in which she calls on the soul of Poro, who was believed dead, before climbing the pyre.

Erissena approaches us in charming, dance-like, playful melodies - but what depth she reveals to us in the great and immediately famous aria in which she compares herself with the shepherdess who lost herself in the darkness of the forest ( Son confusa pastorella , no. 28). And she has the strength to send the beloved Gandarte of her own accord so that one day he may liberate and save India. The loyal friend Gandarte speaks to us in warm, song-like tones, but not only as a non-contradicting “type of friend”: fear of death breaks into his “ colla parte ”, which at first appears calm and serene, song-like and composed only of strings The octave was accompanied by saraband arias Mio ben, ricordati (No. 27), as well as the longing for life and love. Typical for Handel is that he creates the dichotomy of feelings in the contrast of two motifs within the themed tour! Finally, the confrontation between Alessandro and Poro is in complete contrast, dramatically deepened by Cleofide. On the one hand Alessandro, gallant, complacent, the “superior” Greek - on the other hand Poro, grasping the whole range of musical expressiveness, from simple song melodies to the most passionate emotional outbursts, rising to the great human character of Renaissance style. A final highlight of the work is the final duet and choir, in which Cleofide and Poro unite to form a choir with trumpet, oboes, contrapuntal violins and all other actors.

Success and criticism

“This opera, though it contains but few airs in a great and elaborate style, was so dramatic and pleasing, that it ran fifteen nights successively in the spring season, and was again brought on the stage in the autumn, when it sustained four representations more. "

"This opera, although it only contains a few arias in a large and perfect style, was so exciting and successful that it ran successfully on fifteen evenings in the spring and was brought back to the stage in the fall, where it had four more performances."

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

Poro , with its background of Oriental romance, was instantly a success. Never did Senesino in all his London singing rise to a greater height than with the air 'Se possono tanto'. He had never been out of favor, now he attained in one night a far greater popularity than ever. In a week all London was humming the airs […] Many declared that Poro was the best opera he had given London.

“ Poro with its oriental-romantic background immediately achieved a huge success. Senesino never showed himself more brilliantly than in his aria 'Se possono tanto'. The audience had never cheered him with more enthusiasm; that evening he gained greater popularity than ever before. After a week the melodies were humming all over London [...] Many considered Poro to be his best opera. "

- Walter Newman Flower : George Frideric Handel; his personality & his times. London 1923.

“It might be supposed that the conjunction of the age's greatest opera composer with its most successful librettist, a master of language and a fine poet to boot, would have outstandingly fruitful results. But while all three of their joint operas contain magnificent music, none ranks with Handel's masterpieces of 1724-25 and 1734-35 (though Poro comes near it). The divergence of temperament was too wide. Metastastio, as befits a cleric, wrote with an edifying purpose. As Caesarian poet at the court of the Holy Roman Emperor for half a century, he was to dictate rules of conduct and lay down standards for public and private life and maintenance of the status quo. Already in his early librettos moral issues are liable to take precedence over human values. He moves his characters like pieces on a chessboard, […] so that they run the risk of declining into abstractions. In all this his approach was the antithesis of Handel's. It is no matter for surprise that after setting three of his librettos Handel abandoned him, just as his reputation was reaching its peak of popularity, for the wilder slopes of Ariosto's world of magic and romance. "

“One might assume that forging a connection between the greatest opera composer of the age and its most successful librettist, a master of language and a fine poet, would have extraordinarily fruitful results. But while all three of their joint operas [ Siroe , Poro and Ezio ] contain great music, none of Handel's masterpieces from 1724-25 and 1734-35 (although Poro comes close) is comparable. The divergence of the temperaments of both masters was too great. Metastastio wrote, as befits a clergy, for an edifying purpose. As 'poeta Cesareo' at the court of the Roman-German Emperor Charles VI. For half a century, it was his job to describe rules of conduct and standards for public and private life, as well as the maintenance of the [social] status quo . Even in his early libretti, moral questions take precedence over human values. He moves his pieces like on a chessboard, [...] so that they run the risk of becoming abstract. In all of this, his approach was the antithesis of Handel. It is not surprising that after the production of three of his librettos, Handel turned away from him, just as his reputation was peaking in popularity, to turn to the wilder slopes of Ariosto's world of magic and romance. "

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

orchestra

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

Discography

Handel Festival Orchestra Halle ; Dir. Horst-Tanu Margraf (158 min, German)
Europe Galante ; Dir. Fabio Biondi (167 min)
  • Göttingen Handel Festival (2006): William Towers (Poro), Thomas Piffka (Alessandro), Jutta Maria Böhnert (Cleofide), Franziska Gottwald (Erissena), Torben Jürgens (Timagene), Andrew Radley (Gandarte)
Academy for Early Music Berlin ; Dir. Konrad Junghänel (181 min)

literature

  • Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 (English).
  • Silke Leopold : Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 .
  • Arnold Jacobshagen (ed.), Panja Mücke: The Handel Handbook in 6 volumes. Handel's operas. Volume 2. Laaber-Verlag, Laaber 2009, ISBN 3-89007-686-6 .
  • 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 ) .
  • 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 .
  • Paul Henry Lang : Georg Friedrich Handel. His life, his style and his position in English intellectual and cultural life. Bärenreiter-Verlag, Basel 1979, ISBN 3-7618-0567-5 .
  • Albert Scheibler: All 53 stage works by Georg Friedrich Handel, opera guide. Edition Cologne, Lohmar / Rheinland 1995, ISBN 3-928010-05-0 .
  • Joachim Steinheuer: Handel. Porous. Berlin Classics 0093742, noble 1959/98.
  • Karin Zauft: Handel program : Poro. State Theater Halle / S. 1981.

Web links

Commons : Poro (Handel)  - collection of images, videos and audio files

Individual evidence

  1. ^ Letter to Francis Colman. London, June 19, 1730.
  2. ↑ a b c d e Head 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. 180 ff.
  3. ↑ a b c d e f 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. 172 ff.
  4. ^ Opera Register. London, November 3, 1730.
  5. ↑ a b c d e Joachim Steinheuer: Handel. Porous. Berlin Classics 0093742, edel 1959/98, pp. 9–12.
  6. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 173.
  7. ^ A b Bernd Baselt: Thematic-systematic directory. Stage works. In: Walter Eisen (Hrsg.): Handel manual: Volume 1. Deutscher Verlag für Musik, Leipzig 1978, ISBN 3-7618-0610-8 (Unchanged reprint, Kassel 2008, ISBN 3-7618-0610-8 ), p 353 f.
  8. ^ Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 60 ff.
  9. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 187.
  10. ↑ a b c d e Karin Zauft: Program booklet Handel: Poro. State Theater Halle / S. 1981.
  11. ↑ Hamburg libretto 1732
  12. ^ Lives (Dryden translation) / Alexander
  13. ↑ thelatinlibrary.com , penelope.uchicago.edu
  14. ↑ a b Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 269.
  15. ↑ Alexander the Great - Sources: Anabasis Book 4b . websfor.org. Retrieved February 4, 2013.
  16. ↑ Alexander the Great - Sources: Justin Book 12 part2 . websfor.org. Retrieved February 4, 2013.
  17. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 172.
  18. ^ Charles Burney: A general history of music: ... Vol. 4. London 1789, p. 352.
  19. ^ Charles Burney: A general history of music: ... Vol. 4. London 1789, p. 353.
  20. ^ Walter Newman Flower: George Frideric Handel; his personality & his times. Waverley Book Co., London 1923, new edition: Charles Scribner's Sons, New York 1948, pp. 205 f.
  21. ^ Neumann Flower: Georg Friedrich Handel. The man and his time. Translated from the English by Alice Klengel. Koehlers Verlagsgesellschaft | Karl Franz Koehler Verlag, Leipzig 1925, p. 170.
  22. ↑ Winton Dean: Handel's Operas, 1726-1741. Boydell & Brewer, London 2006, Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 , p. 92.