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
SUBSTANTIAL quotations from the printed Argument are necessary to clarify this involved libretto. ‘The Political Enmity of the Athenians against Minos, King of Crete, was the Cause [?Result] of their having Androgeos, his Son, kill’d on their Land, after that Archeus, Prince of Thebes, and Confederate with them, had stole his Daughter, but just born, and who, notwithstanding, was carefully preserv’d and brought up as his own, under the Name of Ariadne. This irritated Minos to wage a bloody War against them, in the Course of which … they were reduc’d to the last Extremity. [After they had consulted the Oracle] Peace was obtain’d of the offended King, but with an Agreement that then, and every seven Years, they should send to Crete a direful Tribute of seven young Men, who were appointed to serve in the Plays instituted to the Honour of Androgeos, where all died; and as many Damsels to give to the Minotaur, to be devour’d, drawing [lots] at their Arrival which of the Unhappy should first be made the miserable Victim. The fatal Law farther bore [sic], that it should continue for ever, unless there came some Champion, who, to save the Victims, should offer himself to overthrow the Monster, to come out of the intricate Ways of the Labyrinth, and fight Tauris, Son of Vulcan, a Man of a most fierce Nature, and provided he overcame him, he should for ever free the City of Athens from so grievous a Tribute. The Time of the third Homage being come, Theseus, Son of Aegeus, went to offer himself, stimulated as well by a generous Virtue of relieving his oppressed Country, as by an impatient Desire to see Ariadne, who thought the Daughter of Archeus was kept Hostage with Minos …’.
Act I. The Sea Shore with Ships and Gallies, from whence come the Hostages. On one Side a Throne, on the other a great Stone, on which is engraven the Agreement of the Tribute to Athens. The seven Athenian young Men led by Theseus, and the seven young Women [including Carilda] disembark. Minos, King of Crete on the Throne. Tauris his Captain of the Guards, Ariadne, Theseus, Carilda. Teseo offers the tribute and asks for the release of Arianna.
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- Handel's Operas, 1726-1741 , pp. 256 - 273Publisher: Boydell & BrewerPrint publication year: 2006