Book contents
- Frontmatter
- Dedication
- Preface
- Contents
- List of illustrations
- Abbreviations
- Note on the text
- Note on sources
- 1 The Rival Queens 1726–1728
- 2 Alessandro
- 3 Admeto, Re di Tessaglia
- 4 Riccardo Primo, Re d’Inghilterra
- 5 Siroe, Re di Persia
- 6 Tolomeo, Re di Egitto
- 7 The ‘Second Academy’ 1729–1734
- 8 Lotario
- 9 Partenope
- 10 Poro, Re dell’Indie
- 11 Ezio
- 12 Sosarme, Re di Media
- 13 Orlando
- 14 Arianna in Creta
- 15 Covent Garden 1734–1737
- 16 Ariodante
- 17 Alcina
- 18 Atalanta
- 19 Arminio
- 20 Giustino
- 21 Berenice, Regina di Egitto
- 22 The Last Operas 1738–1741
- 23 Faramondo
- 24 Serse
- 25 Imeneo
- 26 Deidamia
- Epilogue 1 From Oratorio to Opera
- Epilogue 2 andel’s Operas on the Modern Stage
- Appendix A Structural Analysis
- Appendix B Instrumentation
- Appendix C Performances during Handel’s Life
- Appendix D Borrowings
- Appendix E Modern Stage Productions to end of 2005
- Select Bibliography
- Index of Handel’s Works
- General Index
- Frontmatter
- Dedication
- Preface
- Contents
- List of illustrations
- Abbreviations
- Note on the text
- Note on sources
- 1 The Rival Queens 1726–1728
- 2 Alessandro
- 3 Admeto, Re di Tessaglia
- 4 Riccardo Primo, Re d’Inghilterra
- 5 Siroe, Re di Persia
- 6 Tolomeo, Re di Egitto
- 7 The ‘Second Academy’ 1729–1734
- 8 Lotario
- 9 Partenope
- 10 Poro, Re dell’Indie
- 11 Ezio
- 12 Sosarme, Re di Media
- 13 Orlando
- 14 Arianna in Creta
- 15 Covent Garden 1734–1737
- 16 Ariodante
- 17 Alcina
- 18 Atalanta
- 19 Arminio
- 20 Giustino
- 21 Berenice, Regina di Egitto
- 22 The Last Operas 1738–1741
- 23 Faramondo
- 24 Serse
- 25 Imeneo
- 26 Deidamia
- Epilogue 1 From Oratorio to Opera
- Epilogue 2 andel’s Operas on the Modern Stage
- Appendix A Structural Analysis
- Appendix B Instrumentation
- Appendix C Performances during Handel’s Life
- Appendix D Borrowings
- Appendix E Modern Stage Productions to end of 2005
- Select Bibliography
- Index of Handel’s Works
- General Index
Summary
THE plot, simpler than that of most operas of this period, is outlined concisely, if with a nice derangement of tenses, in the Argument prefixed to the printed libretto.
‘Meleager, King of Etolia, being in love with Atalanta, Daughter of Jasion, King of Arcadia, demanded her of her Father in Marriage; but she, not to lose the Pleasure she took in hunting wild Beasts, refused his Crown and Love; and under the name of Amarillis, went to the Woods among Nymphs and Shepherds, the better to follow the Chace. Meleager, as a Shepherd, under the Name of Thirsis, follows her to the Woods, where she at last fell in love with him. Nicander, an old Shepherd, to whom Meleager had trusted the Secret, discovers their Births and Characters; whereupon their Nuptuals ensue. The Loves of Amintas and Irene are introduced, to give greater Scope to the Drama.’
The scene of all three acts (until the epilogue) is a large Champaign Country, with a Prospect of Cottages: A Wood on each Side, and a vast Mountain at a Distance. Tirsi (Meleagro) is searching for Atalanta. Aminta, a shepherd likewise neglected by the maid who once returned his vows, tries unsuccessfully to console him. Irene, the maid in question, enters and resorts to her ‘wonted Arts’: she summons Tirsi to the chase and tells Aminta (‘inactive Swain’) to stay and amuse himself with amorous nymphs. Tirsi prefers to hunt alone. Irene spurns Aminta because he was not satisfied with her but asked her father for a dowry of herds and agricultural land as well. He goes off to die: her cruelty alone is the cause. Her father Nicandro asks Irene why she is so coy; she replies that she wants to test Aminta's fidelity. Nicandro rebukes her for heartlessness. Alone, she admits that her love is quite as strong as Aminta’s, and promises that his eventual happiness will be all the more delightful after his present pain. Amarilli (Atalanta) enters, followed by Tirsi and shepherds, and disposes her beaters to put up a wild boar. She refuses Tirsi's offer to stay beside her, though inwardly delighted to receive it. Irene tries to dissuade Aminta from suicide.
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- Handel's Operas, 1726-1741 , pp. 335 - 348Publisher: Boydell & BrewerPrint publication year: 2006