kimerajamm
Joined: 28 Nov 2010
Posts: 785
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 Posted: Fri Feb 25, 2011 2:39 pm Post subject: According to Dean |
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The amount of recycled music in Rinaldo is such that Dean and Knapp call it an "anthology" of the best works from Handel's Italian period.[17] Sadie raises the question of whether the opera's dramaturgy is affected by the small amount of music written for its particular situations. He also comments on the problems raised for scholars by the extensive revisions to the music that took place during Handel's lifetime, but suggests that the available admixture creates interesting opportunities in the preparation of modern performing versions.[40] The initial popular success of Rinaldo was assisted by the employment of virtuoso singers, in particular Nicolini in the title role.[11] This part has remained in its original pitch, though in his various revisions Handel transposed the music of other leading roles to different voice types. Thus Goffredo had originally been an alto part, but in the 1717 revisions became a tenor; the Magician was transposed from alto castrato to bass, and Armida from soprano to contralto.[24]
The music, Lang says, flows "beguilingly" from the spacious overture; the quieter, emotional passages are illustrated evocatively, while in the more spectacular moments Handel's innovative use of brass is exciting and inspiring.[46] The sudden blast of trumpets which announces the Act 3 March provides, say Dean and Knapp, "an effect of splendour and exhilaration that time has not dimmed".[47] The harpsichord solos which decorate "Vo' far guerra" in Act 2 were originally improvised on the keyboard by Handel during performances, and were extremely popular. They were remembered and written down by William Babell, and published later as separate pieces. Lang believes that in spite of the borrowings, and the hasty manner in which the work was put together, Rinaldo is one of Handel's great operas.[46] According to Dean and Knapp, no Italian opera heard in London to that point had been supported by such "majestic" orchestral forces.[47] Critic Anthony Hicks describes the music, overall, as both "varied and excellent".[22] Dean and Knapp's verdict is more equivocal. The music for the war and pageantry scenes, they say, is "brilliantly successful", but in depicting the scenes concerned with magic, Handel misses the mark; they suggest it was not until 1719, with Alceste and Orlando, that he was able to represent the supernatural convincingly in music.[17]wholesale soap
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