Radamisto

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Work data
Original title: Radamisto
Title page of Radamisto's libretto, London 1720

Title page of Radamisto's libretto, London 1720

Shape: Opera seria
Original language: Italian
Music: georg Friedrich Handel
Libretto : Nicola Francesco Haym
Literary source: Domenico Lalli , L'Amor tirannico (1712)
Premiere: April 27, 1720
Place of premiere: King's Theater , Haymarket, London
Playing time: 3 hours
Place and time of the action: Armenia , 53 AD
people

Radamisto ( HWV 12a / 12b) is an opera ( Opera seria ) in three acts by Georg Friedrich Händel, first performed in London in 1720 . The main theme of the opera is the power of conjugal love, loyalty to a tyrant or the resistance to this, the final purification / conversion, which opposes vengeance with generosity and forgiveness.

First version - creation

Direction book for the world premiere of Radamisto in London, 1720 ( Victoria and Albert Museum )

Radamisto is Handel's first work for the Royal Academy of Music , founded in 1719 , a private opera company that was not only under the patronage of George I , but was also significantly subsidized by him. Charles Burney names 73 names of subscribers of noble and bourgeois origin who bought shares in the company. One share was valued at £ 200. The end result was £ 17,600. Handel's sponsor, the Earl of Burlington , who was also a member of the twelve-member board, had bought five shares alone. On May 14, 1719, Handel received an order from the board of directors to look for good singers on the continent. So he traveled to Germany and Italy, returned successfully and was appointed orchestra leader in the fall. The opening opera Numitore , which was performed on April 2, 1720 under Handel's direction, came from the pen of Giovanni Porta ; the Radamisto was withheld because it was to be premiered in the presence of the king.

libretto

The libretto was compiled by Nicola Francesco Haym from several older Italian sources, all of which are directly or indirectly based on the annals of the Roman historian Tacitus ( Annales , XII, 44-51) and "a historical conflict in the periphery of the Roman Empire in the Caucasus" on the subject: La Zenobia (1666) by Matteo Noris , L'Amor tirannico, o Zenobia (1710) by Domenico Lalli (performed with music by Francesco Gasparini in the Teatro San Cassiano in Venice in 1710) and an anonymous libretto, which is also attributed to Lalli , L'Amor tirannico (for the 1712 Carnival in the Teatro del Cocomero in Florence), which was based on the French play L'amour tyrannique by Georges de Scudéry (1638) and was now the direct model for Haym.

A comparison of the individual textbooks shows that Haym primarily used Lalli's second libretto from 1712 for his version, because both begin u. a. with an entrance scene with the same wording. Haym's part in Handel's original text is essentially limited to the shortening of the recitatives, the deletion of superfluous scenes and the addition of a few new aria texts .

The exact date of completion of the composition is unknown, since the last pages of the autograph , which contained most of the final ballet music and probably also a date, have been lost. The time of origin must be described as “spring 1720”. The violinist Pietro Castrucci , already known from his Italian time in Italy , who changed from engagement with the Earl of Burlington to the position of concertmaster of Handel's opera orchestra for founding the Opera Academy, played (according to Burney ) the violin solo of the aria Sposo ingrato (No. 27) in the third act. In this first series of performances the work was performed ten times.

Cast of the premiere:

In the following season 1720/21, between December and March, the Radamisto at the King's Theater was again on the program in a new version and saw seven performances, in November and December 1721 another four. There was another resumption in January or February 1728, possibly just for a performance.

Hamburg once again proved to be a reliable venue for Handel's operas : Between January 28, 1722 and January 1736, Radamisto filled thirty evenings at the Theater am Gänsemarkt under the title Zenobia or The Pattern of Righteous Marital Love . The German arrangement and musical arrangement came from Handel's old friend and rival from Hamburg times, Johann Mattheson . Arias from Radamisto are also included in the London pasticci Oreste (1734), Alessandro Severo (1738), Solimano (1758) and in Hermann von Balcke , performed in 1737 for the five hundredth anniversary of the city of Elbing .

The first modern production in a German text version by Joseph Wenz took place on June 22, 1927 during the Göttingen Handel Festival under the musical direction of Rudolf Schulz-Dornburg. The first performance of the piece in historical performance practice was also seen in Göttingen on June 9, 1993 with the Freiburg Baroque Orchestra under the direction of Nicholas McGegan .

Second version - creation

In the autumn of 1720 Handel signed a new ensemble, the composition of which made it necessary to revise the score. The four leading roles in the opera have been transferred to other vocal genres and new arias have been added. The title role was taken on by Francesco Bernardi: This was the first role that the famous castrato , who would be extremely important for Handel in the near future , better known as " Senesino " (because he was born in Siena ), sang in a Handel opera. The two editions of the libretto from 1720 demonstrate both the respective instrumentation and the text changes. The movements newly composed by Handel were published as Arie aggiunte di Radamisto (ten arias and a duet) and later that of Richard Meares and Johann Christoph Schmidt senior. attached to printed collection of arias. This edition contains the well-known foreword with which Handel sought a royal printing privilege. In the Handel literature this foreword is related several times to Handel's British naturalization; however, the parliamentary act and the official certification did not take place until 1727.

Some of the new pieces of the second version can already be found in the appendix to the autograph , and some in the personal copy (“director's score”) from 1720/21. Handel did not simply transpose the new parts from the original voices, but revised both the recitatives and the arias and added the new settings already mentioned above.

Cast for the performance of the new version on December 28, 1720:

In 2008 and 2009, Radamisto in the version from 1720 was performed in historical performance practice with reconstructed backdrops, limelight and gestures as part of the Handel Festival in Karlsruhe in the Badisches Staatstheater . The director was Sigrid T'Hooft .

Third version - creation

The third version does not differ significantly from the second, apart from transpositions and deletions of individual movements. Little is known about this resumption in November 1721. Durastanti, Galerati and Berselli had left the academy, but Baldassari and Anastasia Robinson returned. The latter sang her part (Zenobia), which she had already given in the world premiere. Baldassari could not do this because his role, that of Fraarte, was canceled by Handel: he took over the Tigrane. After Handel had already reduced the role of Fraarte for the second version, he now transferred a few of his recitatives (but not arias) to Tigrane.

Fourth version - creation

A fourth version for performances planned for the beginning of 1728 brought numerous changes: Handel had to make the roles of Zenobia and Polissena for the two "Rival Queen's" Faustina Bordoni and Francesca Cuzzoni equal. Each received eight arias. The quartet, both duets and Farasmane's only aria have been canceled. The role of Fraarte did not return. Tigrane, now an alto part, lost two of his arias; the others were transposed down a fifth or sixth . There were also many other transpositions, changes in the instrumentation and the assignment of the arias. Parmi che giunta in porto from Floridante (1727), for Faustina, replaced the final duet of the second act. Overall, this fourth version is the least convincing due to the constraints that the special situation of the “Rival Queen's” required in terms of the distribution of tasks and voices. The characters are washed out and not as clear as in the previous versions.

Cast of performances in 1728:

Radamisto is perhaps the only opera in which later versions (with the exception of the fourth) come close to the dramaturgical and musical quality of the first version or are even on the same level.

action

Historical and literary background

The location of the action is near Mount Ararat in Armenia , west of the Caspian Sea , today's area between Turkey , Iran , Armenia and Nakhchivan (Azerbaijan) . The “Argomento” (“preliminary remark”) of the printed libretto names the 51st chapter in the 12th book of the Annales of Tacitus as the source. Armenia was under both the influence of Rome and that of the Parthians and formed a buffer between the two empires. Tensions arose under Emperor Claudius , which were fueled by family entanglements: for example, Pharasmanes I conquered Armenia in AD 35 and installed his Rome-friendly brother Mithradates as ruler. In 51 AD, Pharasmanes' son Rhadamistos invaded the country, seized power and had his uncle Mithridates killed. However, he married his cousin, Mithridates' daughter Zenobia. Tacitus reports in detail how the Iberian usurper Rhadamistos killed his uncle and father-in-law in an act of the worst betrayal: Mithridates had fled to the Roman fort Gorneae , but was extradited by the Romans after Rhadamistus had sworn not to use fire, steel or anything to do with him Kill poison. Thereupon Rhadamistos had his uncle suffocated and his wife and children, with the exception of his wife Zenobia, also killed. Finally, in AD 53, the Parthian great king Vologaeses I marched into Armenia and brought his brother Tiridates to the throne. After Tiridates retreated, Rhadamistos was able to return, but was driven out again by rebellious residents around 54. Tacitus now dedicates an entire chapter to this escape and the fate of Rhadamistos' pregnant wife Zenobia. After some time she was no longer able to cope with the exertions of the flight and asked her husband to stab her so as not to fall into the hands of the enemy who pursued her. Rhadamistos complied with her request and threw the supposedly dead woman into the Araxes River . However, she was not dead yet; shepherds found her, tended her and brought her to Tiridates' court in Artaxata . Zenobia gave him the most courteous and dignified treatment. With Tigrane, the prince of Pontus, is possibly meant Tigranes of Cappadocia , which the new emperor Nero installed after the general Gnaeus Domitius Corbulo had conquered Armenia again for the Romans in 58 . Some Parthian kings before the birth of Christ bore the name Phraates.

first act

Polissena learns from Tigrane that her husband Tiridate is about to conquer not only the capital of the Thracian empire ruled by Farasmane, but also Zenobia, whom he covets, with the imminent attack. So not enough for her husband to fight her own father; he also wants to seize his sister-in-law, the wife of her brother Radamisto! Polissena still doubts her husband's shamefulness; she wants to bravely endure the mental torment. But Tiridate has already had Farasmane captured. Before his execution, the king should persuade his son Radamisto to surrender the city without a fight. Radamisto and Zenobia are faced with the superior strength of the enemy army. The situation seems hopeless: Either hand yourself over to the tyrant or watch the king and father die! Zenobia is more ready to suffer death than fall into the hands of Tiridate. Radamisto should put an end to her life. Tigrane, who secretly loves Polissena, and Tiridate's brother Fraarte prevent Farasmane from being killed. But the storm on the city begins. Victory was achieved quickly. Unaware that the opponents in Tigrane have an ally, Tiridate accepts his proposal to spare Farasmane's life if Radamisto and Zenobia are captured. Polissena is grateful to have at least her father saved.

Second act

The rescue of Zenobia from the river.
Nicolas Poussin , ca.1634

Radamisto and Zenobia managed to escape. However, he doesn't have the heart to kill her. She jumps into the river and Radamisto believes she is dead while falling into the hands of enemy soldiers, but is spared on Tigrane's orders. Tigrane secretly accompanies Radamisto to his sister Polissena. Zenobia was also saved. Fraarte leads them to Tiridate in anticipation of his wages. The tyrant confesses his love for her and offers her his hand and the kingdom of Armenia. Radamisto hopes in vain for his sister's help in the plot against Tiridate. Torn between brother and unfaithful husband, she cannot deliver either deadly vengeance. Radamisto disguises himself as Ismene's servant and accompanies Tigrane to Tiridate, to whom they bring the news of Radamisto's alleged death. Zenobia immediately recognizes her husband in the servant. Tiridate asks "Ismene" to use the obvious sympathy that Zenobia feels for him to open her heart to his, Tiridate's love. Left alone, Zenobia and Radamisto seize the opportunity to reassure each other of their love and loyalty.

Third act

Tigrane and Fraarte are tired of continuing to serve a lovesick tyrannical ruler. Your plan is clear: You will lead the army against him, but not to take his life and crown, but to bring him to his senses. In the presence of "Ismene", Tiridate brings Zenobia the insignia of his kingdom to lay at her feet as her husband. If not with love, he will force her to marry her. "Ismene" prevents Tiridates from accessing Zenobia with the weapon. But Polissena, who joined Farasmane, throws herself against the fatal blow. Radamisto's disguise as "Ismene" has been discovered and his death seems sealed. All Polissena's attempts to pray for her brother's life are unsuccessful. Tiridate's demand is irrevocable: either the hand of Zenobia or the life of Radamisto. Radamisto and Zenobia sadly say goodbye to each other. The wedding celebrations are prepared. Tiridate is expecting Zenobia. But she remains steadfast. In dire straits, Polissena appears and reports on the uprising of the army. Tiridate's guards also refuse to give orders, and the prisoners have been released. Tiridate is furious because he is powerless. Farasmane leaves Radamisto in command. But he renounces revenge. Overpowered by this generosity, Tiridate shows insight. Kingdom and crown are again awarded to him. Polissena forgives him. Reconciled and in harmony, all together praise the rising sun of the happy day.

The plot of the opera compared to the historical source

The subject refers as mentioned above, although an actual antique event in Armenia and Thrace, however, is - as is often the opera - very freely adapted:

  • In the opera, for example, Radamisto B. a noble character, while he is described in the source text as criminal; his bad character is carried over to Tiridate.
  • Lallis Tiridate is a combination of the historical figures Mithridates and Tiridate.
  • In contrast to the opera, where Zenobia herself jumps into the river, she was actually injured by Radamisto and thrown into it.
  • It is unclear who started the war between Tiridate and Radamisto / Farasmane in the story, while Tiridate's lust for domination is considered to be the trigger in the opera.

music

The opera consists of a French-style overture and, depending on the version, 27–29 arias , 2–3 ariosi , 1–2 duets , a quartet, an accompaniment , a sinfonia and the final chorus intended for the soloist ensemble. The first edition of the libretto indicates that the opera was performed with ballet interludes. Before the final chorus is noted: "Qui si fà il Ballo e poi il Coro dice". The instrumental movements that presumably sounded at this point can only be reconstructed from secondary sources, with the exception of the fragment of a passepied at the end of the autograph , which uses the same melody as the final chorus. The copy of the score from the Royal College of Music in London contains a passepied and rigadoon in front of the choir, identical to the fragmentary passepied from the autograph, and among the holdings of the former Newman Flower collection there is a passacaille followed by a gigue , albeit without any reference which part of the opera these movements were played (probably at the end of the second act after the duet Se teco vive il cor (No. 23), which is also in A major). Of particular interest with regard to the inclusion of ballet interludes in all three acts is the copy of the score in the library of the Earl of Malmesbury (dated 1720). This source contains the following instrumental movements: March and three Rigaudon s at the end of the first act, Passacaille and Gigue at the end of the second act, and Passepied and Rigaudon at the end of the third act.

As in the earlier operas Rinaldo with Armida and in Teseo with Medea, Handel succeeds in the musical drawing of Polissena, the villain's wife, once again an impressive example of what music characterizes a person beyond the possibilities that that Libretto offers, is able. This also goes far beyond what the conventions of the Opera seria allowed until then. Using the role of Polissena, Silke Leopold outlines such a case in her book Handel. The operas :

Success & Criticism

“At the Rehearsal on Friday last, Signior Nihilini Beneditti rose half a Note above his Pitch formerly known. Opera Stock from 83 and an half when he began; at 90 when he ended. "

“At the rehearsal last Friday, Signor Nihilini Benedetti [Benedetto] exceeded his previously known pitch by a semitone. Opera stocks were at 83½ when it started, at 90 when it ended. "

- The Theater. London, March 8, 1720.

“At night, Radamistus, a fine opera of Handel's making. The King there with his ladies. The Prince in the stage box. Great crowd. "

“Radamisto in the evening, a fine opera by Handel. The king there with his ladies. The prince in the stage box. Many people."

- Mary Cowper : Diary of Mary Countess Cowper. London, April 27, 1720.

“In so splendid and fashionable an assembly of ladies (to the excellence of their taste we must impute it) there was no shadow of form or ceremony, scarce indeed any appearance of order or regularity, politeness or decency. Many, who had forc'd their way into the house with an impetuosity but ill suited to their rank and sex, actually fainted through the excessive heat and closeness of it. Several gentlemen were turned back, who had offered forty shillings for a seat in the gallery, after having despaired of getting any in the pit of boxes. ”

“At such an elegant and modern gathering of ladies, to whose exquisite taste we must ascribe such, there was not the slightest shadow of a formality, of a verbosity; no appearance of order, regularity, politeness, or decency. Many who had asserted their entry impetuously, their rank and gender in an indecent manner, really fainted because of the great heat and lack of air. Various noblemen and gentlemen who had offered ten Reichsthalers for a position in the gallery after they could not get one either on the ground floor or in the boxes, were rejected outright. (Translation: Johann Mattheson, 1761) "

- John Mainwaring : Memoirs of the life of the late George Frederick Handel. London 1760.

“[…] For whereas of his earlier operas, that is to say, those composed by him between the years 1710 and 1728, the merits are so great, that few are able to say which is to be preferred; those composed after that period have so little to recommend them […] In the former class are Radamistus […] in either of which scarcely an indifferent air occurs […] ”

“[...] while his earlier operas, which means those he composed between 1710 and 1728, were so successful that hardly anyone can say which of them is preferable, there is little to be said for the operas of the later years [ ...] The former include Radamistus [...]; they all hardly contain a single uninteresting piece [...] "

- John Hawkins : A General History of the Science and Practice of Music. London 1776.

"[...] more solid, ingenious, and full of fire than any drama which Handel had yet produced in this country."

"[...] more solid, refined and fiery than all the other dramas that Handel had previously composed in this country."

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

“The F minor aria of the title hero was already famous in Handel's time: 'Ombra cara' ('Expensive shadow' [No. 13]): he mourns the allegedly deceased […] The polyphonic […] texture of this important piece is so powerful and plastic that even fifty years later the Englishman Burney referred to it as the 'language of wisdom and science', which was the highest praise of the Enlightenment. [...] With the Radamisto, Handel had succeeded in creating a work that was hard to beat in terms of expression. […] It must also be emphasized that the important role that Handel assigned to noble femininity since his early operas particularly emphasizes the ethos of these works and in this respect, too, Handel brings Beethoven closer. "

- Walther Siegmund-Schultze : Georg Friedrich Handel. Leipzig, 1962.

“[…] Included horns, for the first time in the theater, in 'Alzo al volo'. Even without the greatest Italian singers, Handel had proved that his music could draw; spirits were high, and opera might even yet prove profitable [...] ”

“Horns were used for the first time in a theater, namely in 'Alzo al volo' [No. 28]. Handel had proven that his music was attractive even without the greatest Italian singers; There was high spirits: perhaps the opera company would prove to be lucrative after all. "

- Christopher Hogwood : Trade. London 1984.

orchestra

Transverse flute , two oboes , bassoon , two trumpets , two horns , strings, basso continuo (violoncello, lute, harpsichord).

Discography (selection)

Handel Festival Orchestra Halle ; Dir. Horst-Tanu Margraf (177 min, German, voice transpositions for Radamisto, Tigrane)
  • Ponto Records 1054 (1984), 2nd version: Janet Baker (Radamisto), Juliana Gondek (Zenobia), Michael Dean (Tiridate), Eidween Harrhy (Polissena), Patrizia Kwella (Fraarte), Lynda Russell (Tigrane), Malcolm King ( Farasmane)
English Chamber Orchestra ; Dir. Roger Norrington (187 min)
  • Harmonia Mundi 907111-3 (1993), 2nd version: Ralf Popken (Radamisto), Della Jones (Zenobia), Martyn Hill (Tiridate), Lisa Saffer (Polissena), Monika Frimmer (Fraarte), Dana Hanchard (Tigrane), Nicolas Cavallier (Farasmane)
Freiburg Baroque Orchestra ; Dir. Nicholas McGegan (190 min)
Il complesso barocco ; Dir. Alan Curtis (177 min)

literature

Web links

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

Individual evidence

  1. ^ Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 14.
  2. ↑ a b c d Christopher Hogwood: Georg Friedrich Handel. A biography (= Insel-Taschenbuch 2655). From the English by Bettina Obrecht, Insel Verlag, Frankfurt am Main 2000, ISBN 3-458-34355-5 , p. 139 f.
  3. ↑ Joachim Steinheuer: Radamisto. Berlin Classics 600215 (1963/1998).
  4. ↑ a b Silke Leopold: Handel. The operas. Bärenreiter-Verlag, Kassel 2009, ISBN 978-3-7618-1991-3 , p. 274.
  5. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , p. 345.
  6. ^ British Citizen by Act of Parliament: George Frideric Handel , parliament.uk.
  7. ^ Gerhard Menzel: Karlsruhe on new paths? - An approximation to 1720
  8. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , pp. 347 f.
  9. ^ Winton Dean, John Merrill Knapp: Handel's Operas 1704–1726. The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-525-7 , p. 341.
  10. ^ Terence Best: Radamisto. HMF 907111.13, p. 45.
  11. ^ 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 978-3-7618-0717-0 , p. 87.
  12. ↑ Jonathan Keates : Handel: The Man and his Music. Fayard 1995, ISBN 2-213-59436-8 , p. 94.
  13. ↑ Richard A. Streatfield: trade. Reprint Kessinger Publishing 2010, ISBN 1-163-35858-4 , p. 54.
  14. ^ Diary of Countess Cowper
  15. ↑ Jonathan Keates: Handel: The Man and his Music. Fayard 1995, ISBN 2-213-59436-8 , p. 95.
  16. ^ John Mainwaring: Memoirs of the life of the late George Frederick Handel. R. & J. Dodsley, London 1760, p. 95.
  17. ↑ John Mainwaring and Johann Mattheson: Georg Friderich Handel's biography together with a directory ... Hamburg 1761, Reprint Deutscher Verlag für Musik, Leipzig 1978, p. 77.
  18. ↑ Sir John Hawkins: A General History of the Science and Practice of Music. London 1776, new edition 1963, Vol. II, p. 878.
  19. ↑ A General History of the Science and Practice of Music. London 1776, edition 1875 (Novello)
  20. ^ Charles Burney: A General History of Music: from the Earliest Ages to the Present Period. Vol. 4, London 1789; Faithful reproduction of the original: Cambridge University Press 2010, ISBN 978-1-1080-1642-1 , p. 259.
  21. ↑ Walther Siegmund-Schultze: Georg Friedrich Handel. Deutscher Verlag für Musik, Leipzig 1962, ISBN 978-3-4717-8624-6 , p. 89 f.
  22. ↑ Christopher Hogwood: Commerce. Thames and Hudson, London 1984, Paperback Edition 1988, ISBN 978-0-500-27498-9 , pp. 80 f.