Handel S Operas

What should we consider when thinking about the relationship between an onstage performance and the story the performance tells? A Poetics of Handel's Operas explores this question by analyzing the narratives of Handel's operas in relation to the rich representational fabric of performance used to convey them. Nathan Link notes that in most storytelling genres, the audience can naturally discern between a story and the way that story is represented: with film, for example, the viewer would recognize that a character hears neither her own voiceover nor the ambient music that accompanies it, whereas in discussions of opera, some audiences may be distracted by the seemingly artificial nature of such conventions as characters singing their dialogue. Link proposes that when engaging with opera, distinguishing between the performance we see and hear on the stage and the story represented offers a meaningful approach to engaging with and interpreting the work. Handel's operas are today the most-performed works in the Baroque opera seria tradition. This genre, with its intricate dramaturgy and esoteric conventions, stands to gain much from an investigation into the relationships between the onstage performance and the story to which that performance directs us. In his analysis, Link offers theoretical studies on opera and narratological theories of literature, drama, and film, providing rich engagement with Handel's work and what it conveys about the relationship between text, story, and performance.

The New York Times–bestselling author delivers “a real tour de force” celebrating the fauna in Handel’s operas—with original illustrations by Michael Sowa (News—Austria). When acclaimed novelist Donna Leon is not conjuring up tales of crime and corruption in Venice—or appreciating its delicious cuisine—she revels in music. And for Leon, that usually means the work of her favorite composer, George Frideric Handel. Over the years, Leon has noticed that the great musician filled his operas with arias that make reference to animals. Rich in symbolism, the perceived virtues and vices of the lion, bee, nightingale, snake, elephant, and tiger, among others, resonate in his works. Here, Leon draws on her love of Handel and her expertise in medieval bestiaries, illustrated collections of animal stories, to assemble a one of her own—twelve chapters that trace twelve animals through history, mythology, and the Handel arias they inhabit. Each exploration is joined by whimsical original illustrations by German painter Michael Sowa. A fascinating, utterly original book that is “as clever as it is entertaining,” Handel’s Bestiary springs to life with Leon’s knowledge, passion, and wit (Westdeutsche Allgemeine Zeitung—Germany).

Examines the pivotal role of dance in the Italian operas of Handel, perhaps the greatest opera composer between Monteverdi and Mozart. George Frideric Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances. Dance in Handel's London Operas explores the relationship between music, drama, and dance in these London works, dispelling the notion that dance was a largely peripheral element in Italian-language operas prior to those of Gluck. Taking a chronological approach, Sarah McCleave examines operas written throughout various periods in Handel's life, beginning with his early London operas, including his time at the Royal Music Academy and the "Sallé" operas of the 1730s, and concluding with his unstaged dramatic opera Alceste (1750). In considering the various influences on Handel (particularly the London stage), McCleave blends analysis of information from eighteenth-century treatises with that found in more modern studies, offering an informed and imaginative understanding of the role dance played in the work of this major figure --one who remained responsive throughout his career to the vital and innovative theatrical environment in which he worked. Sarah McCleave is a lecturer at The School of Creative Arts at Queen's University Belfast.

Exploring how Handel's operas have become outstanding expressions of the opera tradition as it had developed to the late 18th century, this text contains detailed consideration of Handel's work between 1705 and 1741.

Handel was a defining figure of the late Baroque era, perhaps best known for bringing the oratorio form to an English-speaking audience. This insightful study brings to life the glory of his artistry, his elusive personality and the flavour of his time.