Ottone, re di Germania (Otto, King of Germany) is an opera by George Frideric Handel, to an Italian-language libretto adapted by Nicola Haym from the libretto by Pallavicini for Antonio Lotti's own opera Teofane.[1] It was the first of Handel's operas written for the Royal Academy of Music. Handel had completed the first version on 10 August 1722, but revised the opera before its first performance.[2]
Performance history
The premiere occurred on 12 January 1723 at the King's Theatre, Haymarket, which 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. Ottone also is notable as the only Handel which featured Farinelli as a singer, in the role of Adelberto, in December 1734.[4] In Germany, Ottone was staged in Braunschweig and Hamburg in the 1720s. However, the opera did not received another production in Germany until 1921, in Göttingen. In the UK, the next production after 1734 was in October 1971 at Sadler's Wells.[4]
Roles
Synopsis
The opera is based on events from the lives of Otto I and Otto II in around 970 CE. 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 battle 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 initiate 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 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 to 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 to 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 for 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 Tiber River, 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 in a boat, 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 enhanced their plans.
Act 3
Gismonda is gloating at Ottone's misfortunes. A storm has caused Emireno and Adelberto to make landfall. 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 escale of Emireno and Adelberto. Matilda becomes remorseful. Adelberto then is brought in, in chains. Matilda thinks to stab 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 is untangled. In the end, Ottone is united with Teofane. Gismonda and Adelberto must abase themselves. In a sudden change, Matilda consents to marry Adelberto.
Selected recordings
- harmonia mundi HMU 907073.75: Drew Minter, Lisa Saffer, Juliana Gondek; Freiburg Baroque Orchestra; 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. Retrieved on 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
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