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Background: This 'imaginary opera', conceived by the French musicologist Ivan A Alexandre, starts with an overture, and leads through a varied sequence of recitatives, arias and duets to a final chorus. In three distinct parts, it follows the dramatic scheme of a typical Handel stage-work, moving from optimisim and brilliance to tragically laden crisis before resolving itself with heroic vigour. It features such characteristic devices of Baroque opera as a ‘mad scene’ (‘Ah! Stigie larve’ from Orlando) bravura arias (among them, ‘Venti, turbini’ from Rinaldo), and the illustrative aria (‘Così la tortorella’ from La resurezzione, in which the flute imitates the call of a dove. Other works represented in this ‘imaginary opera’ include Alcina, Giulio Cesare, Serse, Teseo and Amadigi. This concept in no way disrespects the genius and practice of the composer. Handel himself would readily take an aria from a past work and place it at a suitable juncture in a new one: for instance, the celebrated lament ‘Lascia ch’io pianga’ from Rinaldo (1711) – not featured in Un opera immaginaria – started life as ‘Lascia la spina’ in an oratorio, La resurezzione (1708), while in the Baroque era a famous singer would often take his or her signature aria from one opera to another. Handel even put together the occasional pasticcio, a sophisticated patchwork of music by himself and other composers. |
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COMPOSER: George Frideric Handel |
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