Organ concertos, Op. 4 (Handel)

Handel had seen Antonio Lotti's opera Teofane , to the same libretto as Ottone , in Dresden in , and with three of the same singers in the same roles, though with newly written music by Handel, they had played in the Lotti work - Senesino, Giuseppe Maria Boschi and Margherita Durastanti repeated their roles from the Lotti opera in Ottone. Concerti Grossi 12 , Op. The later operas that Handel wrote for the Academy were not as successful as his earlier ones. Emireno tells her she has no reason to be afraid Aria: In London Farinelli continued to pull the crowds to the Opera of the Nobility, despite Handel's insertions in his operas of dance interludes by Marie Sallé , the leader of the resident dance troupe at Covent Garden.

Works on This Recording

Adelberto hopes that he will learn fidelity from Matilda's example, and is led away Aria: Lascia, che nel suo viso. Matilda and Gismonda are both distraught at Adelberto's defeat and imprisonment. Matilda thinks they should beg Ottone for mercy, but Gismonda would prefer that she and her son both be put to death rather than thus abase themselves. Matilda says she will not allow that to happen, Adelberto must be freed Aria: When alone, Gismonda admits to herself that she too feels pity for her son and longs to console him in his distress Aria: Vieni, o figlio, e mi consola.

Teofane and Ottone are about to meet face to face for the first time, both looking forward to this, but Matilda suddenly appears and throws herself at Ottone's feet, begging him for mercy for Adelberto. Teofane withdraws into an alcove and watches as Ottone declines to pardon Adelberto but embraces Matilda in an attempt to console her. Teofane misinterprets this gesture as a sign that Ottone is in love with Matilda. In any case, the embrace does nothing to cool Matilda; she fulminates against Ottone for his refusal to show clemency to Adelberto, calling on monsters and furies to pursue him Aria: When Teofane and Ottone finally meet, she accuses him of falsely pretending he is not in love with another Aria: Alla fama, dimmi il vero and, once on his own, Ottone prays that this storm will subside Aria: A delightful garden by the Tiber with springs and caves, and an underground passage closed by a stone.

Teofane walks dejectedly in the garden, feeling utterly alone Aria: Emireno and Adelberto emerge from the tunnel, pushing the stone aside. They have escaped from prison with the help of a map sent to them by Matilda. Emireno looks forward to freedom and to vanquishing the enemies who have wronged him Aria: Emireno goes to find the boat Matilda has told him will be waiting, and Matilda herself, then Ottone arrive, Matilda looking for the tunnel and Ottone in search of Teofane.

Adelberto and Teofane conceal themselves as Matilda guides Ottone away, telling him it is not safe for him to wander around at night alone. Ottone is more concerned about Teofane than himself Aria: Emireno has found the boat and returns, and Adelberto seizes Teofane, who swoons as he carries her into the boat and rows her away, together with Emireno and some of their men.

Gismonda joins Matilda in the garden; they celebrate the night that saw the success of their plan to free Adelberto Duet: Ottone is desolate that Teofane has vanished Aria: Dove sei, dolce mia vita.

Gismonda comes to him and gloats that her son has escaped Aria: Ottone feels betrayed and abandoned by everyone Aria: After a brief orchestral sinfonia, Adelberto, Emireno and Teofane appear with their guards. Their escape has been stalled by a sudden squall that has blown up. Adelberto hopes both for better weather and for Teofane's love Aria: He leaves to look for a dwelling where they can take refuge from the storm.

At this, Emireno attempts to embrace her, and Teofane, as well as Adelberto who returns just as this takes place, misinterpret the action as an attempt at seduction.

Adelberto attacks Emireno but the guards seize him. Teofane is distraught and asks the guards to kill her, death will be a release Aria: Benchè mi sia crudele. Emireno tells her she has no reason to be afraid Aria: No, non temere, o bella. Teofane imagines Ottone in Matilda's arms, but even so, she swears she will love him always Aria: Matilda tells Ottone that Adelberto has abducted Teofane.

Gismonda is triumphant at her son's actions, but Matilda tells her she will change her tune when she sees her son's head cut from his shoulders.

Gismonda retorts by revealing to Ottone that it was due to Matilda that Adelberto managed to escape. Matilda admits this is true, but she is sorry she helped Adelberto and would now like to kill him herself Aria: Emireno comes in with Adelberto in chains. Ottone orders Adelberto to be executed, but Matilda demands the right to run him through herself. However she cannot bring herself to do it, realising that she still loves him.

Gismonda grabs the knife from Matilda and is about to commit suicide, when Teofane rushes in and she and Ottone are joyfully reunited Duet: Teofane explains that she now knows that Emireno is really her brother; Gismonda and Adelberto ask for and receive Ottone's forgiveness and pledge him their loyalty, and Matilda accepts Adelberto's offer of marriage.

All celebrate the fortunate turn of events Chorus: The arias in Ottone place less emphasis on bravura and dazzling virtuosity than in Handel's previous operas and are notable for expressive beauty. Many of the arias and instrumental movements from the piece became concert favourites, according to musical historian Charles Burney.

This last section of the overture, according to Burney, became extremely popular all over England and was played on "every imaginable instrument". Teofane's music is pure and melting; her entrance aria Falsa imagine , with its "fine" cello obbligato is, according to Lang, one of Handel's greatest arias, and she too is given a "bewitching" siciliana to sing, the aria Affanni del pensier.

The opera is scored for recorder, two oboes, two bassoons, strings and continuo cello, lute, harpsichord. Handel had completed the first version of Ottone on 10 August , but revised the opera before its first performance. After the first performances of the initial run, demand for tickets was so great that they were sold at much more than their face value, in an early example of ticket touting.

Not only the wealthy and aristocratic patrons of the opera were enthusiastic about the performance and the singers: As for the reigning amusements of the town, it is entirely music Everybody is grown now as great a judge of music as they were in your time of poetry, and folks that could not distinguish one tune from another now daily dispute about the different styles of Handel [and other composers]. People have now forgot Homer, and Virgil, and Caesar, or at least, they have lost their ranks;for, in London and Westminster, in all polite conversations, Senesino is daily voted to be the greatest man that ever lived.

Ottone also is notable as the only Handel opera in which Farinelli appeared, in the role of Adelberto, in December The next production in Germany, on 5 July in Göttingen , was the first revival of any Handel opera in the twentieth century. From Wikipedia, the free encyclopedia. For other uses, see Ottone disambiguation. It seems that the number of visitors and pageviews on this site is too low to be displayed, sorry.

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