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ven, 18 febbraio 2011 00:47

Adelberto
Messaggi: 1
Registrato: febbraio 2011

Junior Member

Dear Friends:
I invite you to sign, promote and support the
following online petition requesting the release of a complete
recording of Handel´s Teseo under the sensible and spirited conducting
of Mr. Giovanni Antonini and a marvelous cast of top quality singers
such as: Roberta Invernizzi,Ann Hallenberg Anna Bonitatibus, Sonia
Prina, Romina Basso and Emanuella Galli.

http://www.gopetition.com/petition/42610.html

Teseo was the third stage work Handel wrote for London. It was
premièred in 1713 at the Queen’s Theatre. The idea was to re-create
the success of Rinaldo, with sophisticated stagecraft, a big orchestra
and a heroic atmosphere. As the libretto was thoroughly based on
Philippe Quinault’s Thesée for Lully, Teseo has inherited many
qualities of the tragédie lyrique style, such as the five-act
structure, big arias in the middle of scenes (instead of exit arias,
as one would expect in Italian baroque opera), a secondary romantic
couple, many short arias and recitatives and many accompanied
recitatives (primarily to depict the character of the sorceress
Medea). Also, the orchestration has inherited some French touches -
and there is plenty of obligatto instruments throughout the opera.
However, this opera has never been revived in Handel’s lifetime and
was only performed again in 1947. Even today, it is not one of
Handel’s most popular operas, which is a pity. It is a most creative
piece, with dazzling arie di bravura and many examples of brilliant
music - Medea’s accompagnati and arie di furie are particularly modern
(I would say "Ombre, sortite" with its descending scales not only
anticipates the Sturm und Drang but also the Wolfschlucht scene in
Freischütz).
The only reason I can imagine to its neglect is Handel’s lack of
imagination for the lyric arias. Differently from Rinaldo (where there
is Lascia ch’io pianga, Cara Sposa and many exquisite arie di affeto),
Teseo really shines in the animated numbers. Also, Handel has a most
distinguished cast. As Nicolini was not available, the first Nero in
Agrippina, Valeriano Pellegrini, was called for Teseo and the
"specialist" in sorceress roles, Elisabetta Pilotti-Schiavonetti, was
the first Medea. Curiously, the first Agilea was the first Goffredo in
Rinaldo - Margherita de l’Epine, a singer Handel admired very much.
Her sister, Maria Gallia, played Clizia. The part of Egeo was sung by
the castrato Valentini and that of Arcane by the British contralto
Jane Barbier, a specialist in trouser roles.

Please help us to make this dream come true!

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