Ariosto's
enchantress Alcina was the model for Tasso's better-known Armida, who
provided both Lulli and Gluck with one of their most dramatic heroines, and
Burney says, with some justice, that Handel's Alcina gave birth to all the
Armidas and Rinaldos of modern times. Both Ariodante and Alcina contained a
large amount of ballet music, and the dances in Alcina, intermingled
with choruses in the French manner, are among Handel's most attractive
compositions.
Mrs. Pendarves, after the rehearsal of Alcina, described Handel as himself
"a necromancer in the midst of his own enchantments," but he could not
prevail against the enchantments of Farinelli, who had been engaged by the
rival opera company. There could be no competing against a combination that
included along with him Senesino, Cuzzoni, and Montagnana. The one powerful
counter-attraction that Handel could offer was oratorio on Wednesdays and
Fridays in Lent, when operas were not allowed to be given. Porpora's David,
which the rival management put on, had no chance against Esther, Deborah,
and Athaliah. Alcina carried the Opera on to the end of the season, the
well-known air "Verdi prati," which Carestini had at first refused to
sing, being encored at every performance.
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