La resurrezione (original) (raw)
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Oratorio by Georg Friedrich Händel
| La resurrezione | |
|---|---|
| Oratorio by George Frideric Handel | |
 Händel c. 1710 |
|
| English | The Resurrection |
| Catalogue | HWV 47 |
| Year | 1708 (1708) |
| Text | by Carlo Sigismondo Capece |
| Language | Italian |
| Performed | 8 April 1708 (1708-04-08): Rome Ruspoli Palace |
| Scoring | 5 soloistschoirorchestra |
La resurrezione (The Resurrection), HWV 47, is an oratorio by George Frideric Handel, set to a libretto by Carlo Sigismondo Capece (1652–1728). Capece was court poet to Queen Marie Casimire of Poland, who was living in exile in Rome. It was first performed on Easter Sunday, 8 April 1708 at Rome, with the backing of the Marchese Francesco Ruspoli, Handel's patron at this time. The work details the events between — and during — Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in the arias. The characters of the liturgical drama that appear in the oratorio are Lucifer (bass), Mary Magdalene (soprano), an angel (soprano), John the Evangelist (tenor), and Mary Cleophas (alto).
A large orchestra was employed for the occasion, consisting of 39 strings of varying types, 1 viola da gamba, 2 trumpets, 1 trombone, and 4 oboes. The staging and scenery were also lavishly produced, and though Roman censorship of the time forbade opera, La resurrezione was certainly produced in an operatic manner. It was produced at Ruspoli's Palazzo in the main hall on the ground floor. A series of terraced seats, 4 in number, was built for the orchestra, curved towards the audience and rising at the back. Twenty-eight specially commissioned music stands were built for the occasion, engraved with either the coat-of-arms of Ruspoli or his wife. The proscenium was decorated with a tapestry depicting cherubs, palm trees, and foliage: in the middle of which hung a plaque with the name of the oratorio. The 46 letters were spread out over 4 lines, each letter about 18 cm in height. These letters were brought into prominence by the backing light of seventy light pans. The canvas backdrop represented pictorially the characters of Handel's oratorio, and in the centre was depicted the resurrection itself.
The role of Mary Magdalene was sung at the first performance by the soprano Margherita Durastanti. The participation of female singers was prohibited by Papal edict, and the Pope went to the length of admonishing Ruspoli for permitting Durastanti to take part. For the remaining performances, her role was sung by a castrato. The only details given concerning this individual are that he was called "Pippo", and that he was in service to the former Queen Casimire. Durastanti later sang the title role in Handel's Agrippina. The aria "Ho un non so che", which she had sung as Mary Magdalene anticipating the resurrection, appears entirely unadapted for her to sing in Agrippina, though in a different context. The violins at the first performance of La resurrezione were led by the famous violinist Arcangelo Corelli (who also conducted the work). It was most likely Ernst Christian Hesse who played the demanding viola da gamba solo part.[1]
Other catalogues of Handel's music have referred to the work as HG xxxix; and HHA i/3.[2]
Roles, voice types, and premiere cast
| Role | Voice type | Premiere cast, 8 April 1708 |
|---|---|---|
| Lucifer | bass | Cristofano Cinotti |
| Mary Magdalene | soprano | Margherita Durastanti |
| An angel | soprano castrato | Matteo Berselli |
| John the Evangelist | tenor | Vittorio Chiccheri |
| Mary Cleophas | alto castrato | Pasquale Betti (Pasqualino) |
| Part | Type | Voice | Name |
|---|---|---|---|
| I | Overture | ||
| I | Aria | Angel | Disserratevi, o porte d'Averno |
| I | Recitative | Lucifer | Qual insolita luce |
| I | Aria | Lucifer | Caddi, è ver, ma nel cadere |
| I | Recitative | Lucifer, Angel | Ma che veggio? Di spiriti a me nemici |
| I | Aria | Angel | D'amor fu consiglio |
| I | Recitative | Lucifer, Angel | E ben, questo Nume |
| I | Aria | Lucifer | O voi dell'Erebo |
| I | Recitative | Mary Magdalene | Notte, notte funesta |
| I | Aria | Mary Magdalene | Ferma l'ali, e sui miei lumi |
| I | Recitative | Mary Cleophas, Mary Magdalene | Concedi, o Maddalena |
| I | Aria | Mary Cleophas | Piangete, sì, piangete |
| I | Recitative | Mary Magdalene, Mary Cleophas | Ahi dolce mio Signore |
| I | Duet | Mary Magdalene, Mary Cleophas | Dolci chiodi, amate spine |
| I | Recitative | John, Mary Magdalene | O Cleofe, o Maddalena |
| I | Aria | John | Quando è parto dell'affetto |
| I | Recitative | Mary Cleophas, John, Mary Magdalene | Ma dinne, e sarà vero |
| I | Aria | St Mary Cleophas | Naufragando va per l'onde |
| I | Recitative | John, Mary Magdalene | Itene pure, o fide |
| I | Aria | John | Così la tortorella talor piange e si lagna |
| I | Recitative | Mary Magdalene | Se Maria dunque spera |
| I | Aria | Mary Magdalene | Ho un non so che nel cor |
| I | Recitative | Angel | Uscite pur, uscite |
| I | Final | All | Il Nume vincitor |
| II | Overture | ||
| II | Recitative | John | Di quai nuovi portenti |
| II | Aria | John | Ecco il sol, ch'esce dal mare |
| II | Recitative | John | Ma ove Maria dimora |
| II | Aria | Angel | Risorga il mondo |
| II | Recitative | Angel | Di rabbia indarno freme |
| II | Recitative | Lucifer, Angel | Misero! Ho pure udito? |
| II | Aria | Lucifer | Per celare il nuovo scorno |
| II | Recitative | Angel | Oh come cieco il tuo furor delira! |
| II | Duet | Lucifer, Angel | Impedirlo saprò! |
| II | Recitative | Mary Magdalene, Mary Cleophas | Amica, troppo tardo |
| II | Aria | Mary Magdalene | Per me già di morire |
| II | Recitative | Lucifer | Ahi, abborrito nome! |
| II | Aria | Mary Cleophas | Vedo il ciel, che più sereno |
| II | Recitative | Mary Magdalene, Mary Cleophas, Angel | Cleofe, siam giunte al luogo |
| II | Aria | Angel | Se per colpa di donna infelice |
| II | Recitative | Mary Magdalene | Mio Gesù, mio Signore |
| II | Aria | Mary Magdalene | Del ciglio dolente |
| II | Recitative | Mary Cleophas | Sì, sì cerchiamo pur |
| II | Aria | Mary Cleophas | Augeletti, ruscelletti |
| II | Recitative | John, Mary Cleophas | Dove sì frettolosi |
| II | Aria | John | Caro Figlio, amato Dio |
| II | Recitative | Mary Magdalene, John, Mary Cleophas | Cleofe, Giovanni, udite |
| II | Aria | Mary Magdalene | Se impassibile, immortale |
| II | Recitative | Mary Magdalene, Mary Cleophas, John | Sì, sì col Redentore |
| II | Final | All | Diasi lode in cielo, in terra |
- ^ Guentersberg. Retrieved 3 January 2018
- ^ Hicks, Anthony (2001). "Handel, George Frideric". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians. Vol. x (2nd ed.). London: Macmillan. p. 784.
- Hogwood, Christopher. Handel (1988), Thames and Hudson, ISBN 0-500-27498-3.
- R. Ewerhart : New Sources for Handel’s La Resurrezione, ML, xli (1960), 127–35
- E. Rosand : Handel Paints the Resurrection, Festa musicologica: Essays in Honor of George J. Buelow, ed. T.J. Mathiesen and B.V. Rivera (Stuyvesant, NY, 1995), 7–52
- A. Hicks : Handel’s Early Musical Development, PRMA, ciii (1976–7), 80–89
- D. Burrows, ed.: The Cambridge Companion to Handel (Cambridge, 1997)
- Score of La Resurrezione (ed. Friedrich Chrysander, Leipzig 1878)
- La Resurrezione at IMSLP.