from Act III, Scene 1 of the Italian opera Agrippina by George Frideric Handel Bel piacere è godere, Poppea’s aria from Agrippina Piega pur del mio cor nel. from Act I of the Italian opera, Agrippina by George Frideric Handel Libretto: Cardinal Vincenzo . Bel piacere e godere from Act III, Scene 1 of the Italian opera. I. Bel piacere | George Frideric Handel. (Vincenzo Grimani). Handel was a prolific composer of the Baroque period. This period is charac-.

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Bel Piacere è godere (English translation)

In accordance with 18th-century opera convention the plot is mainly carried forward in the recitatives, while the musical interest and exploration of character takes place in the arias—although on occasion Handel breaks this mould by using arias to advance the action. Handel’s Dark Comedy of Passion and Intrigue. This production, revived inwas described by The New York Times critic as “odd Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit “Non ho cor che per amarti”.

Pallas and Narcissus realize that Agrippina has tricked them into supporting Nero and decide to have no more to do with her. Claudius agrees, believing that this will enable him to win Poppaea.

He points out the range of instruments used for special effects, and writes that “an examination of the score of this air would probably astonish some who think Handel’s orchestration is wanting in variety. London Evening Standard, 6 February At the palace, Nero tells Agrippina of his troubles and decides to renounce love for political ambition “Come nube che fugge dal vento”.

Despite the evident public enthusiasm for the work, Handel did not promote further stagings. Nicholas McGeganCapella Savaria. Retrieved 4 November There have been numerous productions in the 21st century, including a ultramodern staging by director Lillian Groag at the New York City Opera.

Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Handrl more than he desires the throne.

Georg Friedrich Händel – Bel Piacere è godere lyrics + English translation (Version #3)

After Claudius departs, Poppaea brings Otho out of hiding and the two express their everlasting love in separate arias. She goes to Poppaea and tells her, falsely, that Habdel has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Retrieved 20 October There were occasional productions in the years following its premiere but Handel’s operas, including Agrippinafell out of fashion in the midth century.

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To prove her point she asks Claudius to pretend to leave, then she summons Nero who, thinking Claudius has gone, resumes his passionate wooing of Poppaea. Retrieved 17 April The B handek fugue G 37 appears as an act II overture along with other instrumental music.

According to John MainwaringHandel’s first biographer, Agrippina was composed in the three weeks following Handel’s arrival in Venice in Novembera theory supported by the autograph manuscript’s Venetian paper.

Handel’s autograph score survives, with the Sinfonia and first recitatives missing, but is shows significant differences from bfl libretto, due to changes made for the first performances.

Agrippina (opera) – Wikipedia

This page was last edited on 30 Novemberat Archived from the original on October 28, Composed for the —10 Venice Carnevale season, the opera tells the story of Agrippinathe mother of Neroas she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor.

Grimani’s libretto is based on much the same story used as the subject of Monteverdi ‘s opera L’incoronazione di Poppea. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Retrieved 4 October Observers praised the quality of the music—much of which, in keeping with the contemporary custom, had been borrowed and adapted from other works, including the works of other composers. Meanwhile, Agrippina, having lost the support of Pallas and Narcissus, manages to convince Claudius that Otho is still plotting to take the throne.

Otho, as she intended, overhears her and fiercely protests his innocence. Sawyer, “among the most convincing of all the composer’s dramatic works”. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel’s sex kittens, is also a liar and a flirt.

The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.

But Pallas and Narcissus have by now revealed Agrippina’s original plot to Claudius, so that when Agrippina urges the Emperor to yield the throne to Nero, he accuses her of treachery. Soon Nero arrives to press his love on her “Coll’ardor del tuo bel core”but she tricks him into hiding as well. Challenge RecordsCat. Poppaea swears revenge “Ingannata una sol volta”, alternate aria “Pur punir chi m’ha ingannata” but is distracted when Nero comes forward and declares his love for her.


Retrieved 11 March He announces that his master is alive “Allegrezza! Agrippina obtains the piacete of her handdl freedmen, Pallas and Narcissuswho hail Nero as the new Emperor before the Senate. Examples of recycled material include Pallas’s “Col raggio placido”, which is based on Lucifer’s aria from La resurrezione”O voi dell’Erebo”, which was itself adapted from Reinhard Keiser’s opera Octavia.

Handel’s music illuminates her deceit in the melody and minor modal keywhile a simple, emphasised rhythmic accompaniment hints at clarity and openness. Of the main characters, only Otho is not morally contemptible. Agrippina presented at Tully Hall”. Grimani’s libretto is full of ironyhqndel Handel reflects in the music. Hamdel analysts believe that it reflects Grimani’s political and diplomatic rivalry with Pope Clement XI. It is based on the version, with ballet music borrowed from Rodrigo, and contains two appendices with added and reconstructed music as well as deleted versions from the autograph.

The index of Chrysander’s edition see below lists the following numbers, excluding the secco recitatives. George Frideric Handel Operas.

Two of the main male roles, Nero and Narcissus, were written for castratithe “superstars of their day” in Italian opera.

Grimani’s libretto centres on Agrippina, a character who does not appear in Monteverdi’s darker version.

Variants from the libretto are also noted. She devises a plan and when Otho approaches her, she pretends to talk in her sleep recounting what Agrippina has told her earlier.

In Barenreiter published Hellmuth Christian Wolff ‘s edition, prepared for the Halle revival and reflecting the piaceree of basses for Otto and Narcissus, even when they sing what would otherwise be the alto part in the last chorus.

George Frideric Handel’s lost Hamburg operas.