The Faber Pocket Guide to Handel by Edward Blakeman

Author:Edward Blakeman [Blakeman, Edward]
Language: eng
Format: epub
ISBN: 9780571268801
Publisher: Faber & Faber
Published: 2011-02-03T02:00:00+00:00

Atalanta, HWV 35

Composition 1 to 22 April 1736.

Libretto After Belisario Valeriani.

Premiere 12 May 1736, Covent Garden Theatre.

Synopsis The shepherd and shepherdess, Aminta and Irene, are in love, but Irene likes to make Aminta jealous by pretending to love Meleagro, who is really the King of Etolia, but disguised as the shepherd Tirsi. Tirsi loves the shepherdess Amarilli, and knows she is really Atalanta, Princess of Arcadia, as does Nicandro, Irene’s father and also the confidant of Meleagro. Amarilli is rather bemused to find that she is falling in love with a mere shepherd, Tirsi, but Nicandro eventually reveals Tirsi’s true identity, and Mercury, messenger of the gods, arrives to bless the noble couple who will rule wisely and be loved by all.

Notes A pastoral allegory to celebrate the marriage of Prince Frederick of Wales and his bride, Princess Augusta of Saxe-Gotha. Handel gambled on writing a work that might win over the Prince, who was a supporter of the rival Opera of the Nobility. It worked: Atalanta was a great success, and a revival later that year was specifically requested by the royal couple. The score was printed immediately after the premiere and sold well by subscription. Strada sang the title role and an impressive new young castrato, Gioacchino Conti, was Meleagro. Burney commented that ‘Conti had delicacy and tenderness, with the accumulated refinement of near thirty years, from the time of Handel’s first tour to Italy.’ Negri and Beard sang Irene and Aminta, and Waltz was Nicandro.

Highlights Act I: ‘Care selve’ and ‘Laschia ch’io parta solo’ (Meleagro) – ‘Conti’s two first songs in the first act, seem to have been written to his new, graceful and pathetic style of singing … indeed, Handel was always remarkably judicious in writing to the taste and talents of his performers; in displaying excellence, and covering imperfections.’ ‘Come all tortorella langue’ (Irene) – ‘an elegant pastoral’. ‘Riportai gloriosa palma’ (Atalanta) – ‘elegant, gay, and uncommon’. Act II: ‘Lassa! Ch’io t’ho perduta’ (Atalanta) and ‘Amarilli? Oh Dei’ (Atalanta and Meleagro) – Burney’s only comment was that this aria and duet are both ‘more in Handel’s own early style than any of the movements in the first act’, but both are masterly and dramatic in depicting the inner turmoil of the two characters. The psychological portrayal continues in ‘Di’ad Irene, tiranna’ (Aminta). ‘M’allontano, sdegnose pupille’ (Meleagro) – a graceful dialogue between the voice and strings, judged by Burney to be ‘more modern’. ‘Se nasce un rivoletto’ (Atalanta) – ‘a pleasing minuet, but not very new’, but with various unexpected touches that make it linger in the memory’. Act III: ‘Bench’io non sappia ancor’ (Atalanta) – ‘new and ingenious, and so much the composer’s own property, that it cannot be classed with anything else’. ‘Caro/Cara, nel tuo bel volto’ (Atalanta and Meleagro) – ‘an agreeable mixture of antica e moderna, or rather Corelli highly polished’ – and one of Handel’s most mellifluous love duets.

Farkas/Bártfaí-Barta/Lax/Bandi/Gregor/Polgar

Savaria Vocal Ensemble/Capella Savaria/McGegan

Hungaraton HCD 12612-14 (3 CDs). Recorded 1985.

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