kimerajamm
Joined: 28 Nov 2010
Posts: 785
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 Posted: Fri Feb 25, 2011 2:40 pm Post subject: The main |
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The opera begins in the key of F, and switches to G at the inception of the grove scene in Act 1. Act 2 starts in E minor and ends in G. The final act begins and ends in B minor.[19] According to Hicks the dominant character musically, except in Act 3 in which she barely sings, is Armida. Her entry cavatina "Furie terribili" gives, says Hicks, "an immediate impression of fiery passion", an energy and intensity demonstrated in her Act 2 "Ah crudel", and in her later vengeance aria which is the occasion of Handel's harpsichord cadenzas.[22] Armida's Act 3 duet with Argante was the last duet with bass part that Handel wrote for 30 years. Of the other set pieces, Dean and Knapp highlight Rinaldo's "Cara sposa" as an example of Handel's growing confidence with aria forms. "Or la tromba" is praised for the brilliance of its orchestration: 4 trumpets, drums, strings & oboes—the only aria Handel ever wrote for this combination. The melody for Almirena's "Lascia ch'io pianga" began its life as an Asian dance in Almira before appearing as an aria in the oratorio Il trionfo. From this simple tune and plain accompaniment Handel achieves an "intensely moving effect" in this, the best-known of all the arias.[48]
[edit] Arias and other musical numbers
[edit] 1717 libretto and subsequent amendments
The main musical numbers from the 1711 libretto are listed, together with changes and replacements from the two major revisions of 1717 and 1731. Minor changes, transpositions, and alterations to recitative sections are not shown. New numbers introduced in 1717 and 1731 are listed separately. Other arias not listed may have been sung in Rinaldo during the years 1711–17, but in the absence of contemporary evidence from scores or librettos the extent of such changes cannot be accurately ascertainewholesale soap
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