| Revision as of 16:29, 14 January 2007 editMoreschi (talk | contribs)19,434 edits →Roles: - get that guy's name right← Previous edit | Revision as of 15:01, 7 February 2007 edit undoHoary (talk | contribs)Administrators77,818 edits This 'n' that. NB I was sleepy and might well have screwed up one place; I marked it with an SGML commentNext edit → | ||
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| ] (1733).]] | ] (1733).]] | ||
| '''Agrippina''' (HMV 6) is an ] in three acts by ], set to a ] by Cardinal ].<ref>According to Dean, Grimani owned the theatre where the opera was first produced.</ref> The opera tells the story of ], the mother of ], as she plots the downfall of the ] ] and the installation of her son as emperor. | '''Agrippina''' (HMV 6) is an '']'' in three acts by ], set to a ] by Cardinal ].<ref>According to Dean, Grimani owned the theatre where the opera was first produced.</ref> The opera tells the story of ], the mother of ], as she plots the downfall of the ] ] and the installation of her son as emperor. | ||
| ''Agrippina'' premiered in ] some time in December 1709 or January 1710; the date is usually given as the 26th of December 1709.<ref>Dean p.1 c.1 |
''Agrippina'' premiered in ] some time in December 1709 or January 1710; the date is usually given as the 26th of December 1709.<ref>Dean p.1 c.1; Brown, ''Viking Opera Guide'' p.418</ref> The cast consisted of some of the leading singers of the time in Northern ],<ref>Dean p.1 c.1</ref> such as ] in the lead bass role; ], who had recently sung the role of Mary Magdalene in Handel's '']''; and ], whose great success at ] in the 1697 ] ''Perseo'' inspired the publication of a volume of eulogistic verse, titled ''La miniera del Diamante.''<ref>''Grove''</ref> | ||
| Written when Handel was just 24, ''Agrippina'' was one of his first operas, and demonstrated his assimilation of the ], after his time spent in Rome composing Italianate cantatas and absorbing the influence of ], whom he had met in the city.<ref>Dean p.2 c.1</ref> | Written when Handel was just 24, ''Agrippina'' was one of his first operas, and demonstrated his assimilation of the ], after his time spent in Rome composing Italianate cantatas and absorbing the influence of ], whom he had met in the city.<ref>Dean p.2 c.1</ref> | ||
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| ==Context, analysis, and performance history== | ==Context, analysis, and performance history== | ||
| ] | ] | ||
| In early eighteenth century Europe, Italy's reputation as a centre of music was unsurpassed,<ref name="britannica">Britannica</ref> and it was customary for ambitious musicians with sufficient funds to go there to enhance and develop their musical education.<ref name="britannica" /> Handel visited Italy primarily for these reasons, |
In early eighteenth century Europe, Italy's reputation as a centre of music was unsurpassed,<ref name="britannica">Britannica</ref> and it was customary for ambitious musicians with sufficient funds to go there to enhance and develop their musical education.<ref name="britannica" /> Handel visited Italy primarily for these reasons, and he succeeded in both of these aims.<ref name="britannica" /><!-- Are they really separable into two? (asks Hoary) --> While in Italy, he learned to compose opera in the Italian style, and to set ] to music. Other works from this period include his well-known ''Dixit Dominus,'' and the dramatic cantata, written in Naples, '']'': at this time there was little difference save increasing length between cantata, oratorio, and opera, as all depended on the alternation of ''secco'' recitative and ''aria da capo.''<ref>Dean p.1 c.2</ref> ''Agrippina'' proved extremely popular<ref>Brown (p.418) quotes John Mainwaring, Handel's first biographer: "The theatre at almost every pause resounded with shouts of 'Viva il caro Sassone'. They were thunderstruck by the sublimity of his style: for never had they known till then all the powers of harmony and modulation so closely arrayed and forcibly combined."</ref>, and established Handel's international reputation.<ref>''Grove''</ref> The opera opened to a run of 27 successive nights of performance in Venice, at the ], an extraordinarily long run at that time.<ref>Dean p.1 c.1</ref> It was Handel's last opera to be written in Italy, and is believed by some<ref>Dean p.1 c.1</ref> to be the last composition of his time there. The opera was revised significantly before and possibly during its run.<ref>Dean p.3 c.2</ref> For example, during the run, Poppea's "Ingannata" was replaced with an aria of extreme virtuosity, either to emphasise Poppea's new-found resolution at this juncture of the opera or, as is thought more likely, to flatter Scarabelli by giving her further opportunity to show off her vocal abilities.<ref>Dean p.3 c.2</ref> | ||
| In the composition of ''Agrippina'' Handel borrowed extensively from his earlier oratorios and cantatas; the overture and all but five of some |
In the composition of ''Agrippina'' Handel borrowed extensively from his earlier oratorios and cantatas; the overture and all but five of some fifty arias, choruses, and trios are based on material from earlier in his career, though they were thoroughly reworked.<ref>Dean p.2 c.1</ref> This was common practice at the time. Grimani's libretto was written specifically for the opera, and avoided the moralising tone of the later ''opera seria'' libretti by ] and ].<ref>Dean p.2 c.1</ref> All the characters, with the sole exception of Claudius's servant Lesbus, are historical, and the broad outline of the libretto draws heavily upon ]'s ''Annals'' and ]' ''Life of Claudius.''<ref>Dean p.2 c.1</ref> It has been suggested that the comical, amatory character of the Emperor Claudius is a caricature of ], to whom Grimani was politically opposed.<ref>Dean p.2 c.2</ref> | ||
| Handel himself never revived the opera after its initial run, although it saw productions at Naples, Hamburg, and Vienna during 1713- |
Handel himself never revived the opera after its initial run, although it saw productions at Naples, Hamburg, and Vienna during 1713-19. This is not to say that he abandoned the music. Handel often used his Italian-era compositions in his works composed at London, and ''Agrippina'' was no exception. "Bel piacere" and "Basta che sol" appear in ''],'' "Ho un non so che" (itself a borrowing from ''La Resurrezione'') was revived in ''],'' and "È un foco quel d'amore" appears in the 1732 version of ''],'' in each case with little or no change.<ref>Dean p.5 c.2</ref> Echoes of "Ti vo' giusta" (one of the very few arias composed specifically for this work) can be found in the air "He was despised" from ''].''<ref>Dean p.5 c.1</ref> Furthermore, the overture and many of the arias appeared in at least six ]s performed in London between 1710 and 1714, with the remaining music provided by Alessandro Scarlatti and other composers. Throughout the late 18th and 19th centuries, Handel's operas fell into obscurity and ''Agrippina'' lay unperformed, but it has been revived in recent decades, beginning with a production at ] in 1943. The British première was at Abingdon in 1963, and the first fully staged performance of the opera in the United States took place in Fort Worth, Texas in 1985.<ref>Brown p.418</ref> In modern times, ''Agrippina'''s critical reputation has rested high among Handel's early works and indeed within his entire œuvre: contemporary musicologist ] has described it as having "few rivals" for its "sheer freshness of musical invention".<ref>Dean p.5 c.1</ref> | ||
| ==Music== | ==Music== | ||
| ], the soprano who created the role of Agrippina, drawn between 1709 and 1712 while she was ''prima donna'' at the Teatro San Giovanni Grisostomo.]] | ], the soprano who created the role of Agrippina, drawn between 1709 and 1712 while she was ''prima donna'' at the Teatro San Giovanni Grisostomo.]] | ||
| Stylistically, ''Agrippina'' follows the standard pattern of the time of alternating ] and '']s'', with the plot carried forward in the recitatives and much of the musical interest and exploration of character taking place in the more florid arias. For the most part, the recitative is ''secco'' |
Stylistically, ''Agrippina'' follows the standard pattern of the time of alternating ] and '']s'', with the plot carried forward in the recitatives and much of the musical interest and exploration of character taking place in the more florid arias. For the most part, the recitative is ''secco,'' where an uncomplicated vocal line is accompanied only by continuo, in this case ] and ].<ref>''Britannica'': "Accompaniment , usually by continuo , is simple and chordal."</ref> By this time in operatic history, ''recitativo stromentato'' (recitative accompanied by the orchestra) had been introduced to ''opera seria'' for particularly dramatic points in the narrative, but ''Agrippina'' has only one passage. This is Otho's "Otton, qual portentoso fulmine", where he finds himself robbed of the throne and deserted by his beloved Poppea. | ||
| <!-- I fear that I screwed up the start of this next paragraph: Please compare it carefully with the original. (Hoary) --> | |||
| For the most part, the arias themselves are brief<ref>Brown p.419</ref> |
For the most part, the arias themselves are brief.<ref>Brown p.419</ref> Here as in many ways ''Agrippina'' looks backwards: many arias are accompanied only by the continuo, and there are two short ensembles in addition to a quartet and trio in which the voices are never heard all together (all in Act One). These are typical features of 17th century opera,<ref>Dean p.4 c.2</ref> and the orchestra is used to provide emotional colour, such as the mournful oboe in Otho's "Voi che udite", or the forceful trumpet in Agrippina's "L'alma mia fra le tempeste". However, several features of Handel's mature style are already beginning to take shape in ''Agrippina.'' A contrast is presented between the force of the libretto and the emotional colour of the actual music, best seen here in Otho's "Coronato il crin", where the agitation of the music pulls against the euphoria of the libretto:<ref>Dean p.4 c.2</ref> this would be a constant feature of Handel's later London operas. Furthermore, Handel's control of the interplay between the music and the drama and his occasional use of the arias to advance the action as well as to delineate character would all be important to the success of his later career. ''Agrippina'' shows signs of this control, largely in the scene where Otho, branded a traitor by Claudius, begs help from Agrippina, Poppea, and Nero in turn with one line of recitative, and each scorns his pleas with a brief aria.<ref>Dean p.4 c.2</ref> | ||
| ==Roles== | ==Roles== | ||
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| | valign=bottom | | | valign=bottom | | ||
| :'''Original cast''' | :'''Original cast''' | ||
| :]<ref>According to Hicks, writing in Grove, evidence would suggest that for some performances Durastanti was replaced by Elena Croce, a soprano who had previously sung for Scarlatti and later sang in London, though not for Handel.</ref><sup> </sup> | :]<ref>According to Hicks, writing in ''Grove,'' evidence would suggest that for some performances Durastanti was replaced by Elena Croce, a soprano who had previously sung for Scarlatti and later sang in London, though not for Handel.</ref><sup> </sup> | ||
| :]<sup> </sup> | :]<sup> </sup> | ||
| :]<sup> </sup> | :]<sup> </sup> | ||
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| Agrippina and Nero ascend the throne, but, after a flourish of trumpets, Claudius's servant Lesbus arrives to announce that his master is not dead after all but was saved from death at sea by Otho, the commander of the army. Otho then himself arrives to declare that, out of gratitude, Claudius has promised him the throne. The conspirators are dismayed, but Otho then confides to Agrippina that he loves the Roman beauty Poppea far more than the throne. Agrippina knows that Claudius also loves Poppea, and realises that her schemes have not been entirely defeated. | Agrippina and Nero ascend the throne, but, after a flourish of trumpets, Claudius's servant Lesbus arrives to announce that his master is not dead after all but was saved from death at sea by Otho, the commander of the army. Otho then himself arrives to declare that, out of gratitude, Claudius has promised him the throne. The conspirators are dismayed, but Otho then confides to Agrippina that he loves the Roman beauty Poppea far more than the throne. Agrippina knows that Claudius also loves Poppea, and realises that her schemes have not been entirely defeated. | ||
| Agrippina goes to Poppea's dwelling, and, after confirming that Poppea does truly love Otho, tells her that Otho has struck a bargain with Claudius: he can have the throne only if he yields |
Agrippina goes to Poppea's dwelling, and, after confirming that Poppea does truly love Otho, tells her that Otho has struck a bargain with Claudius: he can have the throne only if he yields Poppea to the current Emperor. She suggests that Poppea should therefore punish Otho by telling Claudius that he has ordered Poppea to refuse Claudius's attentions and give herself to him (Otho) alone. Agrippina claims that this will make Claudius so angry he will strip Otho of his claim to the throne. Poppea is deceived, and when Claudius duly arrives, all proceeds exactly as Agrippina has planned. Poppea is rescued from Claudius's amatory demands by Agrippina's planned return, and Claudius is forced to flee. | ||
| ===Act 2=== | ===Act 2=== | ||
| Line 75: | Line 76: | ||
| ===Act 3=== | ===Act 3=== | ||
| In the meantime, Poppea has |
In the meantime, Poppea has devised a plan. She instructs Otho to hide behind a curtain in her bedroom and to remain silent no matter what he hears. Nero arrives: he also loves Poppea, but she tells him that his mother is coming and persuades him to hide as well. Claudius enters, but Poppea complains that he does not really love her. Claudius reminds her that he punished Otho for her sake, but Poppea suddenly announces that he misheard her: it was not Otho but Nero who insulted her. To prove it, she calls Nero out of hiding, but Claudius interrupts his ardent wooing and contemptuously sends him packing. Poppea then gets rid of Claudius by telling him that he cannot give him her love while Agrippina holds such anger towards her. She brings Otho out of hiding, and the two swear everlasting love to each other. | ||
| Meanwhile the opera moves to its climax. Nero tells his mother of his sudden fall from grace and asks her to protect him. Simultaneously, Pallas and Narcissus have told Claudius of the original plot to gain the throne for Nero, so when Agrippina urges Claudius to render the throne to Nero, he accuses her of attempting to rob him of it. She admits she sought the throne for Nero but claims that this was only to prevent intrigues among the people and Senate and that therefore she was safeguarding the throne for Claudius. Claudius is convinced, and Agrippina further tells him to abandon Poppea as she is Otho's lover, but Claudius contradicts her, informing her that it was, in fact, Nero. When Poppea, Otho, and Nero arrive, Claudius accuses Nero of having hidden himself in Poppea's apartment, which Nero cannot and does not deny. Suddenly, the Emperor announces that Otho shall have the throne after all, and that Nero shall marry Poppea. But this solution pleases nobody, so Claudius gives Poppea to Otho, and, wishing to see peace at last, gives up the throne to Nero. Finally he summons the goddess Juno to bless the empire and the betrothed.<ref>Gloria Staffieri, translated by George Hall as part of the Gardiner recording.</ref> | Meanwhile the opera moves to its climax. Nero tells his mother of his sudden fall from grace and asks her to protect him. Simultaneously, Pallas and Narcissus have told Claudius of the original plot to gain the throne for Nero, so when Agrippina urges Claudius to render the throne to Nero, he accuses her of attempting to rob him of it. She admits she sought the throne for Nero but claims that this was only to prevent intrigues among the people and Senate and that therefore she was safeguarding the throne for Claudius. Claudius is convinced, and Agrippina further tells him to abandon Poppea as she is Otho's lover, but Claudius contradicts her, informing her that it was, in fact, Nero. When Poppea, Otho, and Nero arrive, Claudius accuses Nero of having hidden himself in Poppea's apartment, which Nero cannot and does not deny. Suddenly, the Emperor announces that Otho shall have the throne after all, and that Nero shall marry Poppea. But this solution pleases nobody, so Claudius gives Poppea to Otho, and, wishing to see peace at last, gives up the throne to Nero. Finally he summons the goddess Juno to bless the empire and the betrothed.<ref>Gloria Staffieri, translated by George Hall as part of the Gardiner recording.</ref> | ||
Revision as of 15:01, 7 February 2007
Agrippina (HMV 6) is an opera seria in three acts by George Frideric Handel, set to a libretto by Cardinal Vincenzo Grimani. The opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor.
Agrippina premiered in Venice some time in December 1709 or January 1710; the date is usually given as the 26th of December 1709. The cast consisted of some of the leading singers of the time in Northern Italy, such as Antonio Carli in the lead bass role; Margherita Durastanti, who had recently sung the role of Mary Magdalene in Handel's La Resurrezione; and Diamante Scarabelli, whose great success at Bologna in the 1697 pasticcio Perseo inspired the publication of a volume of eulogistic verse, titled La miniera del Diamante.
Written when Handel was just 24, Agrippina was one of his first operas, and demonstrated his assimilation of the Italian style of opera, after his time spent in Rome composing Italianate cantatas and absorbing the influence of Alessandro Scarlatti, whom he had met in the city.
Context, analysis, and performance history
In early eighteenth century Europe, Italy's reputation as a centre of music was unsurpassed, and it was customary for ambitious musicians with sufficient funds to go there to enhance and develop their musical education. Handel visited Italy primarily for these reasons, and he succeeded in both of these aims. While in Italy, he learned to compose opera in the Italian style, and to set Italian words to music. Other works from this period include his well-known Dixit Dominus, and the dramatic cantata, written in Naples, Aci, Galatea e Polifemo: at this time there was little difference save increasing length between cantata, oratorio, and opera, as all depended on the alternation of secco recitative and aria da capo. Agrippina proved extremely popular, and established Handel's international reputation. The opera opened to a run of 27 successive nights of performance in Venice, at the Teatro San Giovanni Grisostomo, an extraordinarily long run at that time. It was Handel's last opera to be written in Italy, and is believed by some to be the last composition of his time there. The opera was revised significantly before and possibly during its run. For example, during the run, Poppea's "Ingannata" was replaced with an aria of extreme virtuosity, either to emphasise Poppea's new-found resolution at this juncture of the opera or, as is thought more likely, to flatter Scarabelli by giving her further opportunity to show off her vocal abilities.
In the composition of Agrippina Handel borrowed extensively from his earlier oratorios and cantatas; the overture and all but five of some fifty arias, choruses, and trios are based on material from earlier in his career, though they were thoroughly reworked. This was common practice at the time. Grimani's libretto was written specifically for the opera, and avoided the moralising tone of the later opera seria libretti by Metastasio and Zeno. All the characters, with the sole exception of Claudius's servant Lesbus, are historical, and the broad outline of the libretto draws heavily upon Tacitus's Annals and Suetonius' Life of Claudius. It has been suggested that the comical, amatory character of the Emperor Claudius is a caricature of Pope Clement XI, to whom Grimani was politically opposed.
Handel himself never revived the opera after its initial run, although it saw productions at Naples, Hamburg, and Vienna during 1713-19. This is not to say that he abandoned the music. Handel often used his Italian-era compositions in his works composed at London, and Agrippina was no exception. "Bel piacere" and "Basta che sol" appear in Rinaldo, "Ho un non so che" (itself a borrowing from La Resurrezione) was revived in Il pastor fido, and "È un foco quel d'amore" appears in the 1732 version of Acis and Galatea, in each case with little or no change. Echoes of "Ti vo' giusta" (one of the very few arias composed specifically for this work) can be found in the air "He was despised" from Messiah. Furthermore, the overture and many of the arias appeared in at least six pasticcios performed in London between 1710 and 1714, with the remaining music provided by Alessandro Scarlatti and other composers. Throughout the late 18th and 19th centuries, Handel's operas fell into obscurity and Agrippina lay unperformed, but it has been revived in recent decades, beginning with a production at Halle in 1943. The British première was at Abingdon in 1963, and the first fully staged performance of the opera in the United States took place in Fort Worth, Texas in 1985. In modern times, Agrippina's critical reputation has rested high among Handel's early works and indeed within his entire œuvre: contemporary musicologist Winton Dean has described it as having "few rivals" for its "sheer freshness of musical invention".
Music
Stylistically, Agrippina follows the standard pattern of the time of alternating recitative and da capo arias, with the plot carried forward in the recitatives and much of the musical interest and exploration of character taking place in the more florid arias. For the most part, the recitative is secco, where an uncomplicated vocal line is accompanied only by continuo, in this case harpsichord and violoncello. By this time in operatic history, recitativo stromentato (recitative accompanied by the orchestra) had been introduced to opera seria for particularly dramatic points in the narrative, but Agrippina has only one passage. This is Otho's "Otton, qual portentoso fulmine", where he finds himself robbed of the throne and deserted by his beloved Poppea.
For the most part, the arias themselves are brief. Here as in many ways Agrippina looks backwards: many arias are accompanied only by the continuo, and there are two short ensembles in addition to a quartet and trio in which the voices are never heard all together (all in Act One). These are typical features of 17th century opera, and the orchestra is used to provide emotional colour, such as the mournful oboe in Otho's "Voi che udite", or the forceful trumpet in Agrippina's "L'alma mia fra le tempeste". However, several features of Handel's mature style are already beginning to take shape in Agrippina. A contrast is presented between the force of the libretto and the emotional colour of the actual music, best seen here in Otho's "Coronato il crin", where the agitation of the music pulls against the euphoria of the libretto: this would be a constant feature of Handel's later London operas. Furthermore, Handel's control of the interplay between the music and the drama and his occasional use of the arias to advance the action as well as to delineate character would all be important to the success of his later career. Agrippina shows signs of this control, largely in the scene where Otho, branded a traitor by Claudius, begs help from Agrippina, Poppea, and Nero in turn with one line of recitative, and each scorns his pleas with a brief aria.
Roles
- Character
- Agrippina
- Nero
- Pallas
- Narcissus
- Lesbus
- Otho
- Poppea
- Claudius
- Juno
- Original cast
- Margherita Durastanti
- Valeriano Pellegrini
- Giuseppe Maria Boschi
- Giuliano Albertini
- Nicola Pasini
- Francesca Vanini-Boschi
- Diamante Maria Scarabelli
- Antonio Francesco Carli
—
Synopsis
Act 1
Agrippina, wife of Claudius, has received news that her husband has died at sea. Immediately her mind turns to the problem of securing the throne for Nero, her son by a previous marriage. She summons him and commands him to go and give grain to the people in order to buy popular support. After he leaves to carry out his instructions, she summons in turn her two freemen, Pallas and Narcissus, neither of whom knows that the other loves her, though she is aware of their affections. She promises each her love if Nero becomes Emperor, and they leave for the Capitol to acclaim Nero as the new ruler. Agrippina summons the Senate to inform them of Claudius's death and asks them to choose a new Emperor. Pallas and Narcissus immediately cry out Nero's name.
Agrippina and Nero ascend the throne, but, after a flourish of trumpets, Claudius's servant Lesbus arrives to announce that his master is not dead after all but was saved from death at sea by Otho, the commander of the army. Otho then himself arrives to declare that, out of gratitude, Claudius has promised him the throne. The conspirators are dismayed, but Otho then confides to Agrippina that he loves the Roman beauty Poppea far more than the throne. Agrippina knows that Claudius also loves Poppea, and realises that her schemes have not been entirely defeated.
Agrippina goes to Poppea's dwelling, and, after confirming that Poppea does truly love Otho, tells her that Otho has struck a bargain with Claudius: he can have the throne only if he yields Poppea to the current Emperor. She suggests that Poppea should therefore punish Otho by telling Claudius that he has ordered Poppea to refuse Claudius's attentions and give herself to him (Otho) alone. Agrippina claims that this will make Claudius so angry he will strip Otho of his claim to the throne. Poppea is deceived, and when Claudius duly arrives, all proceeds exactly as Agrippina has planned. Poppea is rescued from Claudius's amatory demands by Agrippina's planned return, and Claudius is forced to flee.
Act 2
Meanwhile, Pallas and Narcissus have discovered that Agrippina has tricked them both, and decide to band together to escape the treacheries in which they are embroiled. Otho arrives, nervous about his forthcoming coronation, followed by Claudius riding on a triumphal chariot. Britain has just been conquered, and his subjects all acclaim his glory. However, when Otho goes up to him to claim his promised reward, Claudius brutally repulses him, calling him a traitor. Otho is dumbfounded, and in turn appeals to Agrippina, Poppea, and Nero for support, but they all scorn him, plunging him into despair.
However, seeing her beloved's genuine grief, Poppea wonders whether he might not be innocent after all, and lies down in her garden as if in sleep, recounting in "sleep" what Agrippina has told her earlier as Otho approaches. Seeing her then "wake", Otho cannot restrain himself and furiously protests his innocence. Poppea realises how Agrippina has tricked her and swears revenge. Meanwhile, Agrippina has ordered Pallas to kill first Narcissus and then Otho, and Narcissus to kill Pallas and Otho. This time the freemen are not fooled. Agrippina is more successful when it comes to Claudius, telling him that Otho is still plotting to take the throne. She advises him that to stifle his ambitions Claudius should abdicate in favour of Nero. Claudius agrees, eager to be with Poppea again.
Act 3
In the meantime, Poppea has devised a plan. She instructs Otho to hide behind a curtain in her bedroom and to remain silent no matter what he hears. Nero arrives: he also loves Poppea, but she tells him that his mother is coming and persuades him to hide as well. Claudius enters, but Poppea complains that he does not really love her. Claudius reminds her that he punished Otho for her sake, but Poppea suddenly announces that he misheard her: it was not Otho but Nero who insulted her. To prove it, she calls Nero out of hiding, but Claudius interrupts his ardent wooing and contemptuously sends him packing. Poppea then gets rid of Claudius by telling him that he cannot give him her love while Agrippina holds such anger towards her. She brings Otho out of hiding, and the two swear everlasting love to each other.
Meanwhile the opera moves to its climax. Nero tells his mother of his sudden fall from grace and asks her to protect him. Simultaneously, Pallas and Narcissus have told Claudius of the original plot to gain the throne for Nero, so when Agrippina urges Claudius to render the throne to Nero, he accuses her of attempting to rob him of it. She admits she sought the throne for Nero but claims that this was only to prevent intrigues among the people and Senate and that therefore she was safeguarding the throne for Claudius. Claudius is convinced, and Agrippina further tells him to abandon Poppea as she is Otho's lover, but Claudius contradicts her, informing her that it was, in fact, Nero. When Poppea, Otho, and Nero arrive, Claudius accuses Nero of having hidden himself in Poppea's apartment, which Nero cannot and does not deny. Suddenly, the Emperor announces that Otho shall have the throne after all, and that Nero shall marry Poppea. But this solution pleases nobody, so Claudius gives Poppea to Otho, and, wishing to see peace at last, gives up the throne to Nero. Finally he summons the goddess Juno to bless the empire and the betrothed.
References
- Winton Dean. Humour with Human Commitment: Handel's "Agrippina" (1997). Published by Philips as a brief essay to accompany the Gardiner recording.
- "Recitative" and "George Frideric Handel" in Encyclopædia Britannica, 15th edition, 1986. ISBN 0-85229-434-4.
- Anthony Hicks, "Agrippina", Grove Music Online, ed. L. Macy (accessed October 11, 2006), grovemusic.com (subscription access).
- Section on Handel's operas by David Brown in The Viking Opera Guide (ed. Holden, 1993). ISBN 0-670-81292-7
Notes
- According to Dean, Grimani owned the theatre where the opera was first produced.
- Dean p.1 c.1; Brown, Viking Opera Guide p.418
- Dean p.1 c.1
- Grove
- Dean p.2 c.1
- ^ Britannica
- Dean p.1 c.2
- Brown (p.418) quotes John Mainwaring, Handel's first biographer: "The theatre at almost every pause resounded with shouts of 'Viva il caro Sassone'. They were thunderstruck by the sublimity of his style: for never had they known till then all the powers of harmony and modulation so closely arrayed and forcibly combined."
- Grove
- Dean p.1 c.1
- Dean p.1 c.1
- Dean p.3 c.2
- Dean p.3 c.2
- Dean p.2 c.1
- Dean p.2 c.1
- Dean p.2 c.1
- Dean p.2 c.2
- Dean p.5 c.2
- Dean p.5 c.1
- Brown p.418
- Dean p.5 c.1
- Britannica: "Accompaniment , usually by continuo , is simple and chordal."
- Brown p.419
- Dean p.4 c.2
- Dean p.4 c.2
- Dean p.4 c.2
- Now generally represented by a female soprano, but on the John Eliot Gardiner recording below the role is taken by a countertenor with an exceptionally high falsetto, Derek Lee Ragin.
- Now generally represented by a countertenor,
- Originally performed as travesty role - now generally represented by a countertenor.
- According to Hicks, writing in Grove, evidence would suggest that for some performances Durastanti was replaced by Elena Croce, a soprano who had previously sung for Scarlatti and later sang in London, though not for Handel.
- According to Dean, Pasini was apparently a priest.
- Carli evidently was able to utilise an exceptionally wide range; the part descends to C below the stave. Dean p.4 c.1
- Gloria Staffieri, translated by George Hall as part of the Gardiner recording.
Recordings
- Nicholas McGegan, Capella Savaria (3 CDs) - 1992 - Harmonia Mundi
- John Eliot Gardiner, The English Baroque Soloists (3 CDs) - 1997 - Philips 438 009-2
- Jean-Claude Malgoire, Le Grande Ecurie et la Chambre du Roy (3 CDs) - 2004 - Dynamic Italy