Musical Exodus by Davis Ruth F.;

Author:Davis, Ruth F.;
Language: eng
Format: epub
Tags: undefined
Publisher: Rowman & Littlefield Unlimited Model
Published: 2012-08-15T00:00:00+00:00

Final chorus, Handel, Orlando, “Trion faoggi’l mio core.” Handel 1750, 85. Special Collections, Regenstein Library, University of Chicago.

Orlando, composed at the very beginning of the Enlightenment, appropriates al-Andalus for Europe, rescuing it (i.e., Europe, in the figure of Orlando) for reason from madness. The ambivalence of the East—along with the ambivalence toward Jews throughout Handel’s work (see Marissen 2007)—resonates through the opera. Al-Andalus represents a still-inchoate otherness: a lover, a scorned lover, a murdered lover, a lover revived to life. Such ambivalence will not depart quickly or unproblematically in Enlightenment discourse about al-Andalus and Jewish Europe. The struggle to reckon with both remains in Herder but then yields to a new struggle as he finds alternative paths to opening modern Europe for the Jewish past.

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