- Ottone
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For the Italian commune, see Ottone, Emilia-Romagna.
Ottone, re di Germania (Otto, King of Germany; HWV 15) is an opera by George Frideric Handel, to an Italian–language libretto adapted by Nicola Francesco Haym from the libretto by Stefano Benedetto Pallavicino for Antonio Lotti's opera Teofane.[1] It was the first new opera written for the Royal Academy of Music (1719)'s fourth season. Handel had completed the first version on 10 August 1722, but revised the opera before its first performance.[2]
Contents
Performance history
The premiere, on 12 January 1723 at the King's Theatre, Haymarket, also marked the London debut of Francesca Cuzzoni as Teofane.[3] The opera was a great success in Handel's lifetime, and received revivals in December 1723, 1726, 1727 and 1733, in some cases with additional music. Ottone also is notable as the only Handel opera in which Farinelli appeared, in the role of Adelberto, in December 1734.[4] In Germany, Ottone was staged in Brunswick (Braunschweig) and Hamburg in the 1720s. The next production in Germany, on 5 July 1921 in Göttingen, was the first revival of any Handel opera in the twentieth century. In the UK, the next production after 1734 was given by the Handel Opera Society on 19 October 1971 at Sadler's Wells Theatre.[4]
Roles
Role Voice type Premiere Cast, 12 January 1723
(Conductor: - )Ottone alto castrato Senesino (Francesco Bernardi) Teofane soprano Francesca Cuzzoni Emireno bass Giuseppe Maria Boschi Gismonda soprano Margherita Durastanti Adelberto alto castrato Gaetano Berenstadt Matilda contralto Anastasia Robinson Synopsis
The opera is based on events from the lives of Otto I and Otto II in around 970 AD. The "Argument" to the opera provides the context of the events that precede the opera.[4]
Prologue
Ottone's father had sent him to Italy to fight the Greeks in their battle for Italy. Ottone prevailed over the Greeks, and the Saracens as well. Having obtained a peace agreement with the Greeks, he acquired as his fiancée Teofane, the daughter of Romano, the Eastern Emperor. Basilio, Theophane's brother, had been driven into exile by "the Tyrant" Nicephoro, until his recall, years later, by Zemisces to assist in governing the empire. However, Basilio had become a pirate during his exile, and took on the name of Emireno. Unaware of Ottone's victories, he gave chase to the escort which was transporting Teofane back to Rome, and was captured. Meanwhile, Adelberto, son of the "Tyrant in Italy" Berengario, under the influence of his mother Gismonda, instigated a rebellion by Rome against the Germans. The "Argument" acknowledged these events as historical.
The "Argument" then went on to mention the fictional events for dramatic purposes initiating from the capture of Teofane by Adelberto, and that Teofane falls in love with Adelberto while he is incognito in Constantinople.
Act 1
After Gismonda has instigated the rebellion, she persuades Adelberto to pose as Ottone as he tries to win Teofane over. Teofane had, prior to this, fallen in love with Ottone's portrait, and when she meets Adelberto (as Ottone), the discrepancy in the appearances disconcerts her. Meanwhile, the captured Emireno continues to conceal his identity from Ottone. Matilda, cousin of Ottone and the fiancée of Adelberto, demands troops to avenge Adelberto's revolt and betrayed faith. Praising Matilda as a "brave German Amazon", Ottone assents. Adelberto is on the brink of winning Teofane's hand, but then learns that Ottone is drawing near. Gismonda arms Adelberto and sends him off into battle.
Act 2
Adelberto has been captured. In the meantime, Matilda's attitude toward Adelberto has begun to soften, and she has a meeting with Gismonda. Later, she visits Ottone just before he and Teofane are to meet for the first time, and she begs for mercy on behalf of Adelberto. Ottone disdains the request, but embraces Adelberto out of pity. Teofane sees this and jumps to the conclusion that he is unfaithful.
The next scene is in a garden near the River Tiber, at night. From an underground passage, Emireno and Adelberto have escaped, with the presumed surreptitious assistance of Matilda. Before a boat manned by several of Emireno's men leads them off, Emireno has abducted Teofane, who was walking dejectedly in the garden and faints upon being captured. Gismonda and Matilda are pleased that the night has furthered their plans.
Act 3
Gismonda is gloating over Ottone's misfortunes. A storm has caused Emireno and Adelberto to put in to land. Emireno then realises who Teofane is, but continues to conceal his own identity. He does try to embrace her, but Teofane and Adelberto look upon this as some sort of advance on her. Emireno orders the arrest of Adelberto, and tries to calm Teofane's suspicions, but leaves without giving a full explanation. Teofane prays for death.
Matilda then explains to Ottone about Teofane's capture. Gismonda, in turn, says that Matilda had helped in the escape of Emireno and Adelberto. Matilda becomes remorseful. Adelberto then is brought in, in chains. Matilda thinks of stabbing Adelberto, but her resolve fails. Contemptuous of this weakness, Gismonda tries to take her own life, but the arrival of Teofane stops this. The entire situation becomes unravelled. In the end, Ottone is united with Teofane. Gismonda and Adelberto must abase themselves. In a sudden change, Matilda consents to marry Adelberto.
Recordings
- harmonia mundi HMU 907073.75: Drew Minter, Lisa Saffer, Juliana Gondek; Freiburger Barockorchester; Nicholas McGegan, conductor[5]
Notes
- ^ McLauchlan, Fiona, "Lotti's Teofane (1719) and Handel's Ottone (1723): A Textual and Musical Study" (August 1997). Music & Letters, 78 (3): pp. 349-390.
- ^ Dean, Winton, Review of Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728 by C. Steven LaRue (May 1996). Music & Letters, 77 (2): pp. 272-275.
- ^ Rogers, Francis (1943). "Handel and Five Prima Donnas". The Musical Quarterly XXIX (2): 214–224. doi:10.1093/mq/XXIX.2.214. http://mq.oxfordjournals.org/cgi/reprint/XXIX/2/214. Retrieved 2007-10-14.
- ^ a b c Dean, Winton, "Handel's Ottone (October 1971). The Musical Times, 112 (1544): pp. 955-958.
- ^ Bye, Antony, "CD Reviews: Kings, Queens and Jokers" (May 1993). The Musical Times, 134 (1803): pp. 278-279.
References
- Dean, Winton; Knapp, J. Merrill (1987). Handel's Operas, 1704-1726. Clarendon Press. ISBN 0193152193 The first of the two volume definitive reference on the operas of Handel
Categories:- Operas by George Frideric Handel
- Italian-language operas
- 1723 operas
- Operas
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