'Andeliana -- to accompany "Giulio Cesare in Egitto" and "Serse"

by Luigi Speranza for "Gli Operai" jlsperanza@aol.com

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The following is a complete list of Handel's operatic works. All are opera seria in three acts, unless otherwise stated.

HWV Title Libretto Première date Première place, theatre Modern revival Notes
1 Almira (Der in Krohnen erlangte Glücks-Wechsel, oder: Alimira, Königin von Castilien) FeustkingFriedrich Christian Feustking, after Giulio Pancieri 1705-01-088 January 1705 Hamburg, Theater am Gänsemarkt 1994-06-054 June 1994, Halleschen Händelfestspiele, Bad Lauchstädt Some music lost; announced as a Singspiel but has no spoken dialogue
2 Nero (Die durch Blut und Mord erlangete Liebe) FeustkingFriedrich Christian Feustking 1705-02-2525 February 1705 Hamburg, Theater am Gänsemarkt Music lost
3 Florindo (Der beglückte Florindo) HinschHinrich Hinsch 1708-01-01January 1708 Hamburg, Theater am Gänsemarkt Almost all of the music is lost
4 Daphne (Die verwandelte Daphne) HinschHinrich Hinsch 1708-01-02January 1708 Hamburg, Theater am Gänsemarkt A sequel to Florindo, intended to be performed on the day after it. Almost all of the music is lost
5 Rodrigo (Vincer se stesso è la maggior vittoria) SilvaniAfter Francesco Silvani's
II duello d'Amore e di Vendetta
Italian libretto 1707-11-00c, November 1707 Florence, Teatro di via del Cocomero 1984-00-001984, Innsbruck Some music is lost
6 Agrippina GrimaniVincenzo Grimani 1709-12-2626 December 1709 / early 1710 Venice, Teatro San Giovanni Grisostomo 1943-00-001943, Halle
7a/b Rinaldo RossiGiacomo Rossi/Aaron Hill, after Tasso, La Gerusalemme liberata,
Italian libretto 1711-02-2424 February 1711 London, Queen's Theatre 1954-06-00June 1954, Halle HWV 7b is the 1731 revision; the libretto of a revision of 1717 also exists
8a/b/c Pastor fidoIl pastor fido RossiGiacomo Rossi, after Giovanni Battista Guarini
8b Italian libretto, 8c Italian libretto 1712-11-2222 November 1712 London, Queen's Theatre 1948-06-2020 June 1948, Göttingen (third, November 1734 version); 14 September 1971, Abingdon, (first, 1712 version) HWV 8b/c are the revivals of May and November 1734
9 Teseo HaymNicola Francesco Haym, after Philippe Quinault's libretto for Thésée
Italian libretto 1713-01-1010 January 1713 London, Queen's Theatre 1947-06-2929 June 1947, Göttingen 5 acts


Silla
Tenor role: Silla.
RossiGiacomo Rossi, after Plutarch's Life of Sulla
Italian libretto 1713-06-022 June 1713? London, Queen's Theatre? (or Burlington House?) Much of the music was re-used in Amadigi
11 Amadigi di Gaula RossiHaymRossi or Haym (?), after Antoine Houdar de la Motte's Amadis de Grèce, 1699
Italian libretto 1715-05-2525 May 1715 London, King's Theatre 1929-00-00Osnabrück, 1929 Various additions during the initial run and the revivals of 1716 and 1717


Radamisto

Tenor role Tiridate,King of Armenia, role created by Alexander Gordon Giuseppe Maria
Boschi Giuseppe Maria Boschi
HaymHaym (?), after Domenico Lalli's L'amor tirannico, o Zenobia
Italian libretto 1720-04-2727 April 1720 London, King’s Theatre 1927-06-2727 June 1927, Göttingen Librettos of the revised versions of December 1720 and 1728 exist
13 Muzio Scevola RolliPaolo Antonio Rolli, after a reworking of a Nicolò Minato libretto by Silvio Stampiglia
Italian libretto 1721-04-1515 April 1721 London, King’s Theatre 1928-00-001928, Essen (Act 3 only) only Act 3 is by Handel
14 Floridante RolliRolli, after Francesco Silvani's La costanza in trionfo
Italian libretto 1721-12-099 December 1721 London, King’s Theatre 1962-05-1010 May 1962, Unicorn Theatre, Abingdon Revised versions premiered in 1722, 1727 and 1733
15 Ottone HaymHaym, after Stefano Benedetto Pallavicino's libretto for Antonio Lotti's opera Teofane
Italian libretto 1723-01-1212 January 1723 London, King’s Theatre 1921-07-055 July 1921, Göttingen Revised versions premiered in 1726 and 1733

Flavio
Tenor role:
Ugone, role created by Alexander Gordon
HaymHaym, after M Noris's Il Flavio Cuniberto
Italian libretto 1723-05-1414 May 1723 London, King’s Theatre 1967-07-022 July, 1967, Göttingen The libretto of the revised version of 1732 exists

Giulio Cesare
No tenor roles in original production. When il tenor "il Balino" was visiting London, Handel transposed the title role for him. HaymHaym
Italian libretto 1724-02-2020 February 1724 London, King’s Theatre 1992-00-001922, Göttingen


Tamerlano
Tenor role: Bajazet, Sultan of the Turks, created by Francesco Borosini.
HaymHaym, after Agostin Piovene and Nicholas Pradon
Italian libretto 1724-10-3131 October 1724 London, King’s Theatre 1924-09-077 September 1924, Karlsruhe


Rodelinda
Tenor role: "Grimoaldo", Duke of Benevento, Bertarido's usurper, role created by Francesco Borosini.
HaymHaym, after Antonio Salvi, after Pierre Corneille's play Pertharite, roi des Lombards
Italian libretto 1725-02-1313 February 1725 London, King’s Theatre 1920-06-2626 June 1920, Göttingen


Scipione
Tenor role: Lelio, Roman general, created by Luigi Antinori
RolliRolli
Italian libretto 1726-03-1212 March 1726 London, King’s Theatre 1937-00-001937, Göttingen


Alessandro
Tenor role: Leonato, created by Luigi Antinori.
MauroO Mauro
Italian libretto 1726-05-055 May 1726 London, King’s Theatre 1959-00-001959, Stuttgart (in German)
22 Admeto HaymHaym
Italian libretto 1727-01-3131 January 1727 London, King’s Theatre 1964-00-001964, Abingdon
23 Riccardo Primo RolliRolli, after Francesco Briani
Italian libretto 1727-11-1111 November 1727 London, King’s Theatre 1964-07-088 July 1964, Sadler's Wells Theatre (Handel Opera Society), London
24 Siroe HaymHaym, after Metastasio
Italian libretto 1728-02-1717 February 1728 London, King’s Theatre 1925-12-00December 1925, Gera
25 Tolomeo HaymHaym, adapted from Carlo Sigismondo Capece
Italian libretto 1728-04-3030 April 1728 London, King’s Theatre 1938-06-1919 June 1938, Göttingen


Lotario
Tenor role: Berengario, Duke of Spoleto, role created by Annibale Pio Fabri, called "Balino". SalviAfter Antonio Salvi
Italian libretto 1729-12-022 December 1729 London, King’s Theatre 1975-09-033 September 1975, Kenton Theatre, Henley-on-Thames


Partenope
tenor role: Emilio, Prince of Cumae, role created by Annibale Pio Fabri
StampigliaAfter Silvio Stampiglia
Italian libretto 1730-02-2424 February 1730 London, King’s Theatre 1935-06-2323 June 1935, Göttingen


Poro
Tenor role: Alessandro, King of Macedonia, created by Annibale Pio Fabri 'Balino'.
MetastasioAfter Metastasio
Italian libretto 1731-02-022 February 1731 London, King’s Theatre 1928-00-001928, Braunschweig. Fabri (b Bologna, 1697; d Lisbon, 12 Aug 1760: also known as Balino, from Annibalino, diminutive of his first name) was an Italian composer and singer of the 18th century. One of the leading tenors of his age in a time dominated by the castrati, Fabri is now best known for his association with the composer George Frideric Handel, in whose operas Fabri sang. He was one of many famous pupils of the composer, singer and teacher Francesco Pistocchi. His dramatic career began in 1711 in ROMA, and during the course of the decade he sang at Venice, Bologna, and Mantua, creating, among others, the title role in Vivaldi's L'incoronazione di Dario. He joined the Accademia Filarmonica as a composer of oratorio circa 1719, and during the 1720s he reached the upper echelons of the Italian singers of the time, singing in works by Leonardo Vinci and Domenico Sarro (for whom he created the role of Araspe in Didone abbandonata) at Naples (1722–24) and by Alessandro Scarlatti (Bologna, 1724). In 1729 he joined Handel in London for two seasons, making his début in "Lotario" and creating roles in "Partenope" and "Poro". In his time in London, Fabri also performed in revivals of "Giulio Cesare in Egitto", "Tolomeo," "Rinaldo," "Rodelinda",[1] and "Scipione," in which Handel transposed for tenor the originally castrato title role [2]. Leaving London in 1731, Fabri appeared at Vienna in 1732, where he made the acquaintance of the Emperor Charles VI, who in the next year became a godfather to one of Fabri's sons. He continued to perform across Europe, having considerable success in three operas by Johann Adolph Hasse at Madrid (1738-9). Fabri seems to have retired from the stage around 1750, becoming a member of Lisbon's royal chapel until his death in 1760. His compositional output from this time included a setting of the popular Metastasio libretto Alessandro nell'Indie.[3] 1.^ Dean. 2.^ cf. Le magazine de l'opéra baroque and Amadeusonline Almanac both accessed on 13 January 2010; the part of Goffredo in Rinaldo was also transposed for him by Handel
3.^ Dean References
Winton Dean: "Fabri, Annibale Pio", Grove Music Online ed L. Macy (Accessed 8 January 2010), grovemusic.com,

Ezio
Tenor role: Massimo, Fulvia's father, role created by Giovanni Battista Pinacci.
MetastasioMetastasio
Italian libretto 1732-01-1515 January 1732 London, King’s Theatre 1926-06-3030 June 1926, Göttingen



Sosarme
Tenor role:
Haliate, created by Giovanni Pinacci.
SalviAfter Salvi
Italian libretto 1732-02-1515 February 1732 London, King’s Theatre 1970-00-001970, Abingdon
31 Orlando CapeceAfter Capece, after Ludovico Ariosto's Orlando furioso
Italian libretto 1733-01-2727 January 1733 London, King’s Theatre 1959-05-066 May 1959, Abingdon

Arianna in Creta
NO TENOR ROLES
PariatiAfter Pietro Pariati's Arianna e Teseo 1734-01-2626 January 1734 London, King’s Theatre
A 11 Oreste BarlocciAfter Giangualberto Barlocci 1734-12-1818 December 1734 London, Covent Garden Theatre 1990-00-001990, Karlsruhe Pasticcio


Ariodante
Tenor roles: Lurcanio, Ariodante's brother role created by John Beard, and Odoardo, favorite of the king, role created by Michael Stoppelaer
SalviAfter Salvi, after Ariosto's Orlando Furioso
Italian libretto 1735-01-088 January 1735 London, Covent Garden Theatre




Alcina AriostoAfter Ariosto's Orlando Furioso
Italian libretto 1735-04-1616 April 1735 London, Covent Garden Theatre 1928-00-001928, Leipzig
35 Atalanta ValerianiAfter Belisario Valeriani
Italian libretto 1736-05-1212 May 1736 London, Covent Garden Theatre 1970-00-001970, Hintlesham Festival, Hintlesham
36 Arminio SalviAfter Salvi
Italian libretto 1737-01-1212 January 1737 London, Covent Garden Theatre 1935-02-2323 February 1935, Leipzig (in German)
37 Giustino PariatiAdapted from Pariati's Giustino, after Nicolo Beregan's Il Giustino
Italian libretto 1737-02-1616 February 1737 London, Covent Garden Theatre 1963-04-2121 April 1963, Abingdon
38 Berenice SalviAfter Salvi 1737-05-1818 May 1737 London, Covent Garden Theatre
A 13 Alessandro Severo ZenoAfter Apostolo Zeno 1738-02-2525 February 1738 London, King’s Theatre 1997-03-1818 March 1997, Britten Theatre, Royal College of Music, London Pasticcio
39 Faramondo ZenoAdapted from Apostolo Zeno's Faramondo
Italian libretto 1738-01-033 January 1738 London, King’s Theatre 1976-03-055 March 1976, Halle
40 Serse StampigliaAfter Stampiglia
Italian libretto 1738-04-1515 April 1738 London, King’s Theatre 1924-06-055 July 1924, Göttingen Also known as Xerxes
400A 14 Giove in Argo LucchiniAntonio Maria Lucchini 1739-05-011 May 1739 London, King’s Theatre 2006-09-1515 September 2006, Markgräfliches Opernhaus, Bayreuth Pasticcio
41041 Imeneo StampigliaAfter Stampiglia's Imeneo 1740-11-2222 November 1740 London, theatre in Lincoln's Inn Fields 1960-03-1313 March 1960, Halle
42042 Deidamia RolliRolli
Italian libretto 1741-01-1010 January 1741 London, theatre in Lincoln's Inn Fields