本文发表在 rolia.net 枫下论坛Handel’s Rinaldo — Character descriptions
translated from the Italian version of the libretto
by Anthony Hicks
RINALDO, Christian hero, betrothed to Almirena
GOFFREDO, Captain General of the Christian armies
ALMIRENA, Goffredo’s daughter, betrothed to Rinaldo
ARGANTE, King of Jerusalem, lover of Armida
ARMIDA, a sorceress, Queen of Damascus and lover of Argante
A Christian Magician (Mago)
A Siren
A Herald
Rinaldo was first produced at the Queen’s (later King’s) Theatre in the Haymarket on 24 February 1711. It was Handel’s first opera for London, and also the first Italian opera specifically composed for the London stage. The concept of opera as a wholly sung musical drama was still new in Britain, and through the first successful production was an English version of Giovanni Bononcini’s Camilla in 1706, the popularity of Italian singers — especially the sensational castrati — swiftly established opera in the Italian language as the standard form. The earliest operas for London were largely adaptations and pasticcios, and the need was soon felt for a composer with appropriate experience who could supply newly-written works. It was in this role that Handel came to London in the autumn of 1710, having proved his worth with the highly successful production of his Agrippina in Venice earlier in the year.
His first collaborator was the 24-year-old writer and would-be impresario Aaron Hill, who had taken over the management of the Queen’s Theatre for the season of 1710–11. He devised an outline for an opera based on episodes from Torquato Tasso’s epic poem La Gerusalemme liberata, a fantastically elaborated account of the First Crusade. On this plan Giacomo Rossi wrote the libretto for Rinaldo. Hill’s view (expressed in a preface to the libretto) was that earlier Italian operas in London had been ‘compos’d for Tastes and Voices, different from those who were to sing and hear them on the English Stage’, and that they lacked ‘the Machines and Decorations, which bestow so great a Beauty on their Appearance’. He had therefore ‘resolve’d to form some Dramma, that by different Incidents and Passions, might afford the Musick Scope to vary and display its Excellence, and to fill the eye with more delightful Prospects, so to give Two Senses equal pleasure’. In essence he wanted to re-create the spectacular stage effects which had been a feature of the semi-operas of the previous decade (notably Purcell’s King Arthur) while allowing the music to take the new Italian form dominated by solo arias connected by recitative.
Hill’s visionary enthusiasm seems not to have been balanced by sound financial management. The tradesmen who supplied the scenery and costumes, and the musicians, complained that they were not being paid according to their contracts, and on 3 March 1711, nine days after the premiere of Rinaldo, the Lord Chamberlain revoked Hill’s licence to manage the theatre. Whether Handel was one of the dissatisfied creditors is not clear, but he did his duty in providing a scintillating score for the opera, which achieved a first run of 15 performances and must have helped to pay the bills. In additional the unusual brilliance and colour of the orchestration, with its varied wood-wind solos (including recorders imitating bird-song), battle music with four trumpets, and the composer’s own improvisations on the harpsichord at the end of Act 2, the music brings emotional depth to the characters, perhaps most strongly in Armida, first of a line of Handelian sorceresses in whom a propensity for evil is disconcertingly undermined by the experience of true love. The range of Rinaldo’s own passions is as strikingly portrayed, from the despair of his great lament ‘Cara sposa’ to the heroic virtuosity of ‘Venti, turbini, prestate’ (with violin and bassoon solos) and ‘Or la tromba’ (where the voice contends with the four trumpets).
In 1711 the roles of Rinaldo and Eustazio were sung by the leading castrati Nicolo Grimaldi (‘Nicolini’) and Valentino Urbani. The equally distinguished sopranos Elisabetta Pilotti-Schiavonetti and Isabella Girardeau sang Armida and Almirena, the contralto Francesca Vanini-Boschi sang Goffredo and her husband Giuseppe Boschi sang Argante. The small role of the Magician was taken by another castrato, Giuseppe Cassani. Handel made several changes to the opera between 1712 and 1717, and extensively revised it for a revival in 1731, but only the original of 1711 (as performed tonight) has the full measure of extravagant vitality which so excited its first audiences and still thrills today.
Synopsis
The action is set at the time of the First Crusade (1096–99). Christian forces led by Goffredo (Godfrey of Bouillon) are laying siege to the city of Jerusalem, held by the Saracen king Argante. With Goffredo are his brother Eustazio and his daughter Almirena, who is in love with the Christian knight Rinaldo. Argante is supported by Armida, Queen of Damascus and a powerful sorceress.
Act 1
In the Christian camp outside the walls of Jerusalem Goffredo tells his companions that the capture of the city is the path to glory. He confirms his promise to Rinaldo that if the Christians are successful, Rinaldo will have Almirena’s hand in marriage. Almirena urges Rinaldo to fight bravely, and not to be distracted by thoughts of love. A Herald announces the appearance of Argante. He emerges from the city gates and demands a three-day truce, which Goffredo grants. Left alone, Argante summons the aid of Armida, who arrives in a chariot drawn by dragons. By her magic arts she has learnt that the Christians cannot win without Rinaldo, and she plans to lure him away from the Christian camp.
Almirena listens to bird-song in a beautiful grove. She is met by Rinaldo and the couple exchange vows of love. Armida appears and kidnaps Almirena under cover of a cloud full of fire-breathing monsters, leaving Rinaldo distraught. He tells Goffredo and Eustazio what has happened. Eustazio suggests that they should seek guidance from a magician who lives at the foot of a distant mountain. Encouraged, Rinaldo calls on the winds and tempests to help him regain Almirena.
Act 2
Rinaldo, Goffredo and Eustazio, on their journey to the magician, arrive at the shore of a sea in which mermaids are seen playing. A Siren tries to entice Rinaldo into a boat. He is at first held back by his companions, but breaks free, boards the boat and sails out of sight. Goffredo, shaken by the loss of both his daughter and Rinaldo, steels himself to fight on.
In the garden of Armida’s enchanted palace, Almirena receives unwelcome attentions from Argante. He promises to set her free, but she wants only to lament her fate. Armida rejoices in Rinaldo’s capture. She offers him her love, which for the first time she feels as a genuine emotion, but Rinaldo scornfully rejects her. Armida then tries to seduce him by taking the form of Almirena, but after initial confusion Rinaldo avoids the trap. Argante resumes his advances on (as he thinks) Almirena, promising to release her from Armida’s bondage; but it is in fact the disguised Armida he is addressing. She accuses him of treachery, and when he admits his love for Almirena she vows revenge.
Act 3
Goffredo and Eustazio, with soldiers, arrive at the foot of the threatening mountain on which Armida’s palace is situated. Nearby is the cave of the Mago or Christian magician whom they have been seeking. He tells the brothers that Rinaldo and Almirena are in the palace. Without waiting for his advice they attempt to climb the mountain but are driven back by hideous spirits and spouts of fire. The magician gives the brothers magic wands to defeat the spirits and encourages them to ascend the mountain again. This time they reach the top and strike the palace gate with their wands. The entire mountain immediately vanishes, and the brothers find themselves hanging on to a rock above a turbulent sea. They climb over the rock and pass out of sight.
In the garden of the palace Armida threatens to kill Almirena to be avenged on Rinaldo. Goffredo and Eustazio arrive and use their wands to ward off Armida’s spirits. The garden itself vanishes, and the scene becomes open country outside the walls of Jerusalem. Armida makes a final attempt to stab Almirena, but vanishes when Rinaldo strikes her with his sword. The re-united Christian heroes resolve to attack the city. Argante and Armida, reconciled in the face of their common enemy, review their troops. Almirena looks forward to the fulfilment of her love, and Goffredo orders Eustazio to guard her and the Christian camp while he and Rinaldo lead the assault. The Christian forces march, and battle is joined. Led by Rinaldo, the Christians take the city, and Argante is captured. Eustazio catches Armida attempting to plunder the Christian camp. Rinaldo and Almirena are joyfully re-united. In defeat Armida recognises superior power and asks for Christian baptism, which Argante also accepts. They agree to marry. All proclaim the triumph of virtue.更多精彩文章及讨论，请光临枫下论坛 rolia.net
translated from the Italian version of the libretto
by Anthony Hicks
RINALDO, Christian hero, betrothed to Almirena
GOFFREDO, Captain General of the Christian armies
ALMIRENA, Goffredo’s daughter, betrothed to Rinaldo
ARGANTE, King of Jerusalem, lover of Armida
ARMIDA, a sorceress, Queen of Damascus and lover of Argante
A Christian Magician (Mago)
A Siren
A Herald
Rinaldo was first produced at the Queen’s (later King’s) Theatre in the Haymarket on 24 February 1711. It was Handel’s first opera for London, and also the first Italian opera specifically composed for the London stage. The concept of opera as a wholly sung musical drama was still new in Britain, and through the first successful production was an English version of Giovanni Bononcini’s Camilla in 1706, the popularity of Italian singers — especially the sensational castrati — swiftly established opera in the Italian language as the standard form. The earliest operas for London were largely adaptations and pasticcios, and the need was soon felt for a composer with appropriate experience who could supply newly-written works. It was in this role that Handel came to London in the autumn of 1710, having proved his worth with the highly successful production of his Agrippina in Venice earlier in the year.
His first collaborator was the 24-year-old writer and would-be impresario Aaron Hill, who had taken over the management of the Queen’s Theatre for the season of 1710–11. He devised an outline for an opera based on episodes from Torquato Tasso’s epic poem La Gerusalemme liberata, a fantastically elaborated account of the First Crusade. On this plan Giacomo Rossi wrote the libretto for Rinaldo. Hill’s view (expressed in a preface to the libretto) was that earlier Italian operas in London had been ‘compos’d for Tastes and Voices, different from those who were to sing and hear them on the English Stage’, and that they lacked ‘the Machines and Decorations, which bestow so great a Beauty on their Appearance’. He had therefore ‘resolve’d to form some Dramma, that by different Incidents and Passions, might afford the Musick Scope to vary and display its Excellence, and to fill the eye with more delightful Prospects, so to give Two Senses equal pleasure’. In essence he wanted to re-create the spectacular stage effects which had been a feature of the semi-operas of the previous decade (notably Purcell’s King Arthur) while allowing the music to take the new Italian form dominated by solo arias connected by recitative.
Hill’s visionary enthusiasm seems not to have been balanced by sound financial management. The tradesmen who supplied the scenery and costumes, and the musicians, complained that they were not being paid according to their contracts, and on 3 March 1711, nine days after the premiere of Rinaldo, the Lord Chamberlain revoked Hill’s licence to manage the theatre. Whether Handel was one of the dissatisfied creditors is not clear, but he did his duty in providing a scintillating score for the opera, which achieved a first run of 15 performances and must have helped to pay the bills. In additional the unusual brilliance and colour of the orchestration, with its varied wood-wind solos (including recorders imitating bird-song), battle music with four trumpets, and the composer’s own improvisations on the harpsichord at the end of Act 2, the music brings emotional depth to the characters, perhaps most strongly in Armida, first of a line of Handelian sorceresses in whom a propensity for evil is disconcertingly undermined by the experience of true love. The range of Rinaldo’s own passions is as strikingly portrayed, from the despair of his great lament ‘Cara sposa’ to the heroic virtuosity of ‘Venti, turbini, prestate’ (with violin and bassoon solos) and ‘Or la tromba’ (where the voice contends with the four trumpets).
In 1711 the roles of Rinaldo and Eustazio were sung by the leading castrati Nicolo Grimaldi (‘Nicolini’) and Valentino Urbani. The equally distinguished sopranos Elisabetta Pilotti-Schiavonetti and Isabella Girardeau sang Armida and Almirena, the contralto Francesca Vanini-Boschi sang Goffredo and her husband Giuseppe Boschi sang Argante. The small role of the Magician was taken by another castrato, Giuseppe Cassani. Handel made several changes to the opera between 1712 and 1717, and extensively revised it for a revival in 1731, but only the original of 1711 (as performed tonight) has the full measure of extravagant vitality which so excited its first audiences and still thrills today.
Synopsis
The action is set at the time of the First Crusade (1096–99). Christian forces led by Goffredo (Godfrey of Bouillon) are laying siege to the city of Jerusalem, held by the Saracen king Argante. With Goffredo are his brother Eustazio and his daughter Almirena, who is in love with the Christian knight Rinaldo. Argante is supported by Armida, Queen of Damascus and a powerful sorceress.
Act 1
In the Christian camp outside the walls of Jerusalem Goffredo tells his companions that the capture of the city is the path to glory. He confirms his promise to Rinaldo that if the Christians are successful, Rinaldo will have Almirena’s hand in marriage. Almirena urges Rinaldo to fight bravely, and not to be distracted by thoughts of love. A Herald announces the appearance of Argante. He emerges from the city gates and demands a three-day truce, which Goffredo grants. Left alone, Argante summons the aid of Armida, who arrives in a chariot drawn by dragons. By her magic arts she has learnt that the Christians cannot win without Rinaldo, and she plans to lure him away from the Christian camp.
Almirena listens to bird-song in a beautiful grove. She is met by Rinaldo and the couple exchange vows of love. Armida appears and kidnaps Almirena under cover of a cloud full of fire-breathing monsters, leaving Rinaldo distraught. He tells Goffredo and Eustazio what has happened. Eustazio suggests that they should seek guidance from a magician who lives at the foot of a distant mountain. Encouraged, Rinaldo calls on the winds and tempests to help him regain Almirena.
Act 2
Rinaldo, Goffredo and Eustazio, on their journey to the magician, arrive at the shore of a sea in which mermaids are seen playing. A Siren tries to entice Rinaldo into a boat. He is at first held back by his companions, but breaks free, boards the boat and sails out of sight. Goffredo, shaken by the loss of both his daughter and Rinaldo, steels himself to fight on.
In the garden of Armida’s enchanted palace, Almirena receives unwelcome attentions from Argante. He promises to set her free, but she wants only to lament her fate. Armida rejoices in Rinaldo’s capture. She offers him her love, which for the first time she feels as a genuine emotion, but Rinaldo scornfully rejects her. Armida then tries to seduce him by taking the form of Almirena, but after initial confusion Rinaldo avoids the trap. Argante resumes his advances on (as he thinks) Almirena, promising to release her from Armida’s bondage; but it is in fact the disguised Armida he is addressing. She accuses him of treachery, and when he admits his love for Almirena she vows revenge.
Act 3
Goffredo and Eustazio, with soldiers, arrive at the foot of the threatening mountain on which Armida’s palace is situated. Nearby is the cave of the Mago or Christian magician whom they have been seeking. He tells the brothers that Rinaldo and Almirena are in the palace. Without waiting for his advice they attempt to climb the mountain but are driven back by hideous spirits and spouts of fire. The magician gives the brothers magic wands to defeat the spirits and encourages them to ascend the mountain again. This time they reach the top and strike the palace gate with their wands. The entire mountain immediately vanishes, and the brothers find themselves hanging on to a rock above a turbulent sea. They climb over the rock and pass out of sight.
In the garden of the palace Armida threatens to kill Almirena to be avenged on Rinaldo. Goffredo and Eustazio arrive and use their wands to ward off Armida’s spirits. The garden itself vanishes, and the scene becomes open country outside the walls of Jerusalem. Armida makes a final attempt to stab Almirena, but vanishes when Rinaldo strikes her with his sword. The re-united Christian heroes resolve to attack the city. Argante and Armida, reconciled in the face of their common enemy, review their troops. Almirena looks forward to the fulfilment of her love, and Goffredo orders Eustazio to guard her and the Christian camp while he and Rinaldo lead the assault. The Christian forces march, and battle is joined. Led by Rinaldo, the Christians take the city, and Argante is captured. Eustazio catches Armida attempting to plunder the Christian camp. Rinaldo and Almirena are joyfully re-united. In defeat Armida recognises superior power and asks for Christian baptism, which Argante also accepts. They agree to marry. All proclaim the triumph of virtue.更多精彩文章及讨论，请光临枫下论坛 rolia.net
