491:
making faces, and his manner is particularly agreeable; he is the greatest master of musick that ever sang on the stage. The third is the bass, a very good distinct voice, without any harshness. La Strada is the first woman; her voice is without exception fine, her manner perfection, but her person very bad, and she makes frightful mouths. La
Merighi is next to her; her voice is not extraordinarily good or bad, she is tall and has a very graceful person, with a tolerable face; she seems to be a woman about forty, she sings easily and agreeably. The last is Bertoli, she has neither voice, ear, nor manner to recommend her; but she is a perfect beauty, quite a Cleopatra, that sort of complexion with regular features, fine teeth, and when she sings has a smile about her mouth which is extreme pretty, and I believe has practised to sing before a glass, for she has never any distortion in her face.
19:
500:(Handel) says that she sings better than the two who have left us, because one of them never pleased him at all and he would like to forget the other...Fabri is a great success. He really sings very well. Would you have believed that a tenor could have such a triumph here in England?...They are putting on Giulio Cesare because the audiences are falling away fast. I think the storm is about to break on the head of our proud Orso (Handel). Not all beans are for market, especially beans so badly cooked as this first basketful...
341:
swallow it when
Idalberto bursts into the prison cell. He tries to rescue Adelaide but is prevented by his mother. When Adelaide is once again about to swallow the poison, Idalberto draws his dagger and threatens to kill himself, whereupon Matilde dashes the poisoned drink from Adelaide's hands. Matilde is not happy about this outcome however and warns her son to expect pain and Adelaide to look forward to punishment (Aria:
2380:
362:
395:
of causing this defeat and orders
Adelaide brought to her so that she can kill her with her own hands but is told that Adelaide has already been released. Idalberto suggests to his mother that she kill him instead which strikes Matilde as a good idea, but she cannot quite bring herself to do it. The victorious Lotario enters and orders Matilde arrested whereupon she tries to commit suicide but is prevented.
2401:
2391:
1143:
533:'The opera is too good for the vile taste of the town; it (Lotario) is condemned never more to appear on the stage after this night...The present opera is disliked because it is too much studied, and they love nothing but minuets and ballads, in short the Beggars' Opera and Hurlothrumbo are only worthy of applause.
438:
of an organisation called the Royal
Academy of Music (unconnected with the present day London conservatoire), a company under royal charter to produce Italian operas in London. Handel was not only to compose operas for the company but hire the star singers, supervise the orchestra and musicians, and
279:
Before the action begins, Berengario had ruled Italy together with
Adelaide's husband, but desiring all the power for himself, Berengario had Adelaide's husband poisoned and then tried to force her to marry his son Idelberto, who loves her. Adelaide refused, and now, as Queen of Italy, she has taken
499:
Nine days ago the opera
Lotario was produced. I went only last Tuesday, that is to the third performance. Everyone considers it a very bad opera. Bernacchi failed to please on the first night, but at the second performance he changed his method and scored a success...Strada pleases mightily, and
394:
Idalberto discovers his mother arming herself for battle, ready to fight alongside her troops. He begs her not to, but she scornfully refuses to listen to her son express such cowardice. Clorimundo enters with the news that the battle is over and
Lotario has won. The enraged Matilde accuses her son
340:
In the dungeon, Adelaide is also a prisoner and does not realise that
Lotario has defeated her enemy. Clorimondo enters with a crown in one hand and a vial of poison in the other - Adelaide can choose to be Idalberto's queen, or die. Adelaide, egged on by Matilde, chooses the poison and is about to
398:
Lotario lets
Adelaide decide what is to become of Berengario and Matilde. Adelaide shows them forgiveness; they will be allowed to live in quiet retirement, while out of gratitude for saving her life, Idalberto will be King of Italy. Lotario and Adelaide will marry and rule Germany. They celebrate
490:
Bernachi has a vast compass, his voice mellow and clear, but not so sweet as
Senesino, his manner better; his person not so good, for he is as big as a Spanish friar. Fabri has a tenor voice, sweet, clear and firm, but not strong enough, I doubt, for the stage; he sings like a gentleman, without
478:
Handel was now in business for himself, unlike the arrangements he had with the Royal Academy of Music, which had financial support from wealthy backers. He had traveled to Italy to hire singers and the ones he brought to London to replace the stars of the Royal Academy did not meet with the near
383:
Berengario is beginning to regret his cruelty, but Matilde is made of sterner stuff. The two armies rush into battle, and Lotario seeing that Adelaide is in danger, calls a truce. Idalberto offers to die instead of Adelaide, however his father will not accept this, so the fighting starts again.
412:
292:
Berengario is full of ambition and rage and has sent his son Idalberto to storm the walls of Pavia. He receives news that the German King Lotario is on his way with an army to protect Adelaide. Matilde, Berengario's wife and fully his match in ambition and rage, announces that she has bribed
296:
In the castle at Pavia, Adelaide receives the German King Lotario, who has not only brought his army to her aid but loves her too. She accepts his aid and urges him to fight Berengario and Matilde. He will do so, he says, if she will repay him with her love
312:
Berengario takes Pavia easily owing to the treachery of Adelaide's troops but she adamantly refuses to marry his son. Berengario goes to fight Lotario's army, leaving Adelaide with his wife Matilde, who loads her with chains and throws her in the dungeon.
293:
Adelaide's soldiers to open the gates of Pavia to their forces. Her son is truly in love with Adelaide and begs his parents not to do anything that will endanger her, but Matilde will not be moved - Adelaide must marry Idelberto or face death.
462:, wrote in a letter (the original is in Italian) that Handel said that Strada "sings better than the two who have left us, because one of them (Faustina) never pleased him at all and he would like to forget the other (Cuzzoni)." The story of
322:
470:
with many of the same characters at an earlier part of their lives. In fact, the character of Lotario was referred to in Handel's manuscript score as "Ottone" since it is based on the same person, the historical
423:
The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London, where in 1711 he had brought Italian opera for the first time with his opera
442:
The Royal Academy of Music collapsed at the end of the 1728–29 season, partly due to the huge fees paid to the star singers, and the two prima donnas who had appeared in Handel's last few operas,
345:). Left alone together, Adelaide thanks Idalberto for saving her but says she can never love him. Idalberto accepts this and proclaims he will be content to admire her from a distance (Aria:
2404:
1779:
454:, the theatrical impresario who held the lease on the King's Theatre in the Haymarket where the operas were presented and started a new opera company with a new prima donna,
380:
In captivity, Berengario and Matilde appeal to Adelaide to stop the war by using her influence with Lotario to have them crowned king and queen of Italy. Adelaide refuses.
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1081:
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created a craze in London for Italian opera seria, a form focused overwhelmingly on solo arias for the star virtuoso singers. In 1719, Handel was appointed
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Clorimondo worries that he may have backed the losing side in this struggle and reflects on the transitory nature of human fortunes (Aria:
337:
Berengario loses the battle against Lotario and is captured. He is a prisoner of war, and Lotario reflects that he is a prisoner to love.
2329:
2256:
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475:, but the name was changed part way through composition, probably to avoid confusion with Handel's earlier, highly successful, piece.
301:). Clorimondo, Berengario's general, appears to Adelaide and tells her she must either marry the son or be killed by the father (Aria:
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96:) a very bad opera". There were 10 performances, but it was not repeated. Handel reused pieces in later operas.
18:
2272:
2250:
1940:
1828:
1673:
1177:
1540:
111:, like all Handel operas, receives performances at festivals and opera houses today. Among other performances,
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1821:
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1149:
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Tenors were unusual in leading roles in opera in England, as Rolli notes, although Handel's previous operas
190:
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1972:
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42:
22:
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459:
131:
89:
734:
Streatfeild, R.A. (1917). "Handel, Rolli, and Italian Opera in London in the Eighteenth Century".
411:
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208:
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1965:
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1429:
1387:
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46:
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1926:
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450:
both left London for engagements in continental Europe. Handel went into partnership with
426:
227:
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2236:
1600:
1493:
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684:
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103:
went unperformed for many years, but with the revival of interest in Baroque music and
2419:
1835:
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54:
361:
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The opera is scored for two oboes, two bassoons, trumpet, two horns, strings, and
479:
universal acclaim of his previous singers. One of Handel's most loyal supporters,
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2022:
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638:
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38:
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326:
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A few weeks after her first letter, Mary Delaney returned to the subject (
74:
The story of the opera is a fictionalisation of some events in the life of
92:
commented in a letter at the time to Giuseppe Riva that "everyone thinks (
1240:
1102:
1034:
1031:
The second of the two volume definitive reference on the operas of Handel
495:
In the same letter already quoted, on 11 December 1729 Paulo Rolli wrote:
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68:
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Dean, W. & J.M. Knapp (1995) Handel's operas 1704-1726, p. 298.
1408:
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had been a sensational success at its premiere in London in 1728):
483:, wrote in a letter of the new ensemble of singers that performed
410:
360:
320:
281:
203:
130:
17:
182:
1038:
34:
466:
is, in modern terms, a "prequel" to Handel's previous opera
349:.) Adelaide is touched and grateful for his devotion (Aria:
115:
was staged at the London Handel Festival in 1999, by the
951:
Essays on Handel and Italian opera by Reinhard Strohm
2322:
2296:
2265:
2221:
2190:
2036:
2015:
1989:
1950:
1890:
1859:
1780:
Agrippina condotta a morire or Dunque sarĂ pur vero
1771:
1732:
1510:
1478:
1439:
1090:
878:"BERN/ Konzert Theater: LOTARIO von G.F. Händel"
516:had featured star roles for a celebrated tenor,
439:adapt operas from Italy for London performance.
305:) but Adelaide puts her trust in Lotario (Aria:
1050:
8:
759:
757:
1057:
1043:
1035:
710:International Music Score Library Project
105:historically informed musical performance
548:
142:
909:
907:
905:
903:
901:
899:
726:
1583:L'Allegro, il Penseroso ed il Moderato
1519:Il trionfo del Tempo e del Disinganno
373:(called Lotario in the opera) at the
145:Roles, voice types, and premiere cast
7:
2390:
791:"Handel:A Biographical Introduction"
333:, who created the role of Berengario
2257:Keyboard suite in D minor (HWV 437)
1523:Il trionfo del Tempo e della VeritĂ
1748:Ode for the Birthday of Queen Anne
415:The King's Theatre, London, where
399:their love for one another (Duet:
139:, who created the role of Adelaide
63:.The opera was first given at the
14:
1913:Funeral Anthem for Queen Caroline
948:Strohm, Reinhard (20 June 1985).
815:Kimberley, Nick (25 March 1999).
99:As with all Baroque opera seria,
2426:Operas by George Frideric Handel
2399:
2389:
2379:
2378:
1934:Wedding anthem for Princess Anne
1141:
817:"Opera: Handel's greatest bits"
458:. One of Handel's librettists,
263:Johann Gottfried Riemschneider
2451:Operas set in the 10th century
2355:Handel & Hendrix in London
157:Premiere Cast, 2 December 1729
1:
2028:Music for the Royal Fireworks
1527:The Triumph of Time and Truth
680:FestspielOrchester Göttingen
671:Ursula Hesse von den Steinen,
1959:Utrecht Te Deum and Jubilate
1843:Tra le fiamme (Il consiglio)
1098:Handel's lost Hamburg operas
541:(cello, lute, harpsichord).
2467:
1017:Handel's Operas, 1726-1741
655:CD:Deutsche Harmonia Mundi
2373:
2273:Handel Reference Database
2251:The Harmonious Blacksmith
1941:Foundling Hospital Anthem
1829:O lucenti, o sereni occhi
1762:Ode For St. Cecilia's Day
1072:
884:(in German). 6 March 2019
849:Americanhandelsociety.org
419:had its first performance
2288:Hallische Händel-Ausgabe
2278:Händel-Werke-Verzeichnis
2266:Catalogs and collections
613:Cat:OC 902 (highlights)
430:. A tremendous success,
303:Se il mar promette calma
280:refuge in a fortress in
123:, Switzerland, in 2019.
2431:Italian-language operas
1787:Allor ch'io dissi addio
1741:Aci, Galatea e Polifemo
1646:Joseph and his Brethren
987:"Recordings of Lotario"
669:Jorge Navarro-Colorado,
307:Quel cor che mi donasti
275:Scene:Italy, about 950.
191:Antonio Maria Bernacchi
2213:Concerti grossi, Op. 6
2208:Concerti grossi, Op. 3
2203:Organ concertos, Op. 7
2198:Organ concertos, Op. 4
1973:Queen Caroline Te Deum
1716:The Choice of Hercules
1066:George Frideric Handel
535:
502:
493:
420:
377:
369:and her second spouse
351:D'una torbida sorgente
334:
140:
117:Handel Festival, Halle
43:George Frideric Handel
25:
23:George Frideric Handel
1801:Clori, Tirsi e Fileno
1015:Dean, Winton (2006).
736:The Musical Quarterly
607:Kammerorchester Basel
531:
497:
488:
414:
371:Otto I the Great
364:
324:
134:
21:
2335:Letters and writings
1808:Dalla guerra amorosa
1469:Va tacito e nascosto
1462:Svegliatevi nel core
1082:List of compositions
748:10.1093/mq/III.3.428
651:Il Complesso Barocco
452:John James Heidegger
407:Context and analysis
254:Berengario's general
119:in 2004 and by the
71:on 2 December 1729.
2330:British citizenship
2283:Händel-Gesellschaft
2007:Oboe Concerto No. 2
2002:Oboe Concerto No. 1
1997:Oboe Concerto No. 3
1667:Occasional Oratorio
1448:Lascia ch'io pianga
556:
347:Bella, non mi negar
299:Rammentati, cor mio
147:
85:Performance history
1860:Latin church music
1850:Un'alma innamorata
1815:Del bell'idolo mio
1794:Aure soavi e lieti
771:. Handel Institute
657:Cat:82875 58797-2
567:Berengario,Matilda
565:Lotario,Adelaide,
549:
526:The Beggar's Opera
518:Francesco Borosini
421:
378:
335:
331:Annibale Pio Fabri
246:Francesca Bertolli
211:, called "Balino"
209:Annibale Pio Fabri
143:
141:
76:Holy Roman Empress
26:
2413:
2412:
2345:Handel at Cannons
2016:Orchestral suites
1966:Dettingen Te Deum
1899:As Pants the Hart
1755:Alexander's Feast
1402:Alessandro Severo
1339:Parnasso in festa
1019:. Boydell Press.
919:handelhendrix.org
842:"News from Halle"
692:
691:
677:Laurence Cummings
611:CD:Oehms Classics
599:Hubert Claessens
444:Francesca Cuzzoni
401:Sì, bel sembiante
375:Meissen Cathedral
267:
266:
218:Berengario's wife
172:Anna Maria Strada
137:Anna Maria Strada
121:Stadttheater Bern
107:since the 1960s,
79:Adelaide of Italy
53:was adapted from
41:in three acts by
2458:
2403:
2393:
2392:
2382:
2381:
2323:Related articles
1980:Chandos Jubilate
1906:Zadok the Priest
1733:Odes and masques
1674:Judas Maccabaeus
1479:Incidental music
1332:Arianna in Creta
1283:Lotario (Handel)
1178:Acis and Galatea
1171:Amadigi di Gaula
1145:
1059:
1052:
1045:
1036:
1030:
1002:
1001:
999:
997:
983:
977:
976:
970:
968:
945:
939:
936:
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929:
927:
925:
911:
894:
893:
891:
889:
874:
868:
867:
865:
863:
857:
851:. Archived from
846:
838:
832:
831:
829:
827:
812:
806:
805:
803:
801:
787:
781:
780:
778:
776:
761:
752:
751:
731:
708:: Scores at the
701:Italian libretto
597:Annette Markert,
593:Andreas Karasiak
557:
555:
448:Faustina Bordoni
236:Berengario's son
148:
146:
2466:
2465:
2461:
2460:
2459:
2457:
2456:
2455:
2416:
2415:
2414:
2409:
2369:
2365:Händel-Jahrbuch
2318:
2292:
2261:
2217:
2186:
2032:
2011:
1985:
1946:
1927:Chandos Anthems
1886:
1855:
1767:
1728:
1688:Alexander Balus
1624:Scratch Messiah
1576:Israel in Egypt
1541:Brockes Passion
1534:La resurrezione
1506:
1474:
1435:
1086:
1068:
1063:
1027:
1014:
1006:
1005:
995:
993:
991:Operadis.org.uk
985:
984:
980:
966:
964:
962:
954:. CUP Archive.
947:
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937:
933:
923:
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913:
912:
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887:
885:
876:
875:
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861:
859:
858:on 3 March 2016
855:
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823:
821:The Independent
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665:Sophie Rennert,
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636:Hilary Summers,
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343:Arma lo sguardo
325:A contemporary
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228:Antonia Merighi
199:Duke of Spoleto
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1999:
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1990:Oboe concertos
1987:
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1822:Apollo e Dafne
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1440:Opera excerpts
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1262:Riccardo Primo
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1150:Il pastor fido
1146:
1134:
1127:
1120:
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1094:
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1079:
1077:List of operas
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742:(3): 428–445.
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696:
695:External links
693:
690:
689:
685:Accent Records
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674:
663:
659:
658:
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632:Steve Davislim
619:
615:
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586:Lawrence Zazzo
583:
579:
578:
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546:
543:
473:Otto the Great
436:music director
408:
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358:
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318:
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135:Caricature of
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65:King's Theatre
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2020:
2018:
2014:
2008:
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1998:
1995:
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1975:
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1970:
1968:
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1949:
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1938:
1936:
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1924:
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1920:Sing Unto God
1917:
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1867:Dixit Dominus
1865:
1864:
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1836:Ero e Leandro
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1620:(Mozart arr.)
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1487:The Alchemist
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1416:Giove in Argo
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961:9780521264280
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882:Online Merker
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795:GF Handel.org
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688:Cat:ACC26408
686:
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645:
643:Vito Priante
640:
633:
628:
627:Simone Kermes
623:
622:Sara Mingardo
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56:
55:Antonio Salvi
52:
48:
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40:
36:
32:
31:
24:
20:
16:
2377:
2360:Georg Händel
2350:Handel House
2249:
2242:
2235:
2228:
1978:
1971:
1964:
1957:
1939:
1932:
1925:
1918:
1911:
1904:
1897:
1882:Salve Regina
1877:Nisi Dominus
1848:
1841:
1834:
1827:
1820:
1813:
1806:
1799:
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1588:
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1574:
1567:
1560:
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1546:
1539:
1532:
1526:
1525: /
1522:
1521: /
1518:
1499:
1492:
1485:
1455:Ombra mai fu
1428:
1421:
1414:
1407:
1400:
1393:
1386:
1379:
1372:
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1358:
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1323:
1316:
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1162:
1155:
1148:
1136:
1129:
1122:
1115:
1107:
1101:
1016:
994:. Retrieved
990:
981:
973:Google Books
971:– via
965:. Retrieved
950:
943:
934:
922:. Retrieved
918:
886:. Retrieved
881:
872:
860:. Retrieved
853:the original
848:
836:
824:. Retrieved
820:
810:
798:. Retrieved
794:
785:
773:. Retrieved
768:
739:
735:
729:
603:Paul Goodwin
551:
536:
532:
524:
522:
511:
505:
503:
498:
494:
489:
484:
477:
467:
463:
441:
431:
425:
422:
416:
400:
397:
393:
389:Alza al ciel
388:
386:
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379:
350:
346:
342:
339:
336:
311:
306:
302:
298:
295:
291:
278:
253:
235:
217:
198:
197:Berengario,
112:
108:
100:
98:
93:
88:
73:
58:
33:("Lothair",
29:
28:
27:
15:
2441:1729 operas
2436:Opera seria
2061:Fitzwilliam
2023:Water Music
1617:Der Messias
924:29 December
800:28 December
775:29 December
673:Todd Boyce
647:Alan Curtis
639:Sonia Prina
590:Nuria Rial,
554:discography
481:Mary Delany
460:Paolo Rolli
456:Anna Strada
365:Statues of
252:Clodomiro,
234:Idelberto,
154:Voice type
90:Paolo Rolli
39:opera seria
2420:Categories
1660:Belshazzar
1248:Alessandro
1199:Floridante
967:2 February
716:References
667:Marie Lys,
574:orchestra
572:Conductor,
569:Clodomiro
545:Recordings
327:caricature
49:-language
37:26) is an
2304:Göttingen
2297:Festivals
2230:Germanico
1951:Canticles
1596:Structure
1511:Oratorios
1395:Faramondo
1353:Ariodante
1290:Partenope
1234:Rodelinda
1227:Tamerlano
1185:Radamisto
1131:Agrippina
915:"Lotario"
765:"Lotario"
513:Rodelinda
507:Tamerlano
241:contralto
223:contralto
216:Matilde,
163:Adelaide
2384:Category
1772:Cantatas
1709:Theodora
1653:Hercules
1611:Part III
1430:Deidamia
1388:Berenice
1381:Giustino
1367:Atalanta
1241:Scipione
1103:Florindo
539:continuo
367:Adelaide
270:Synopsis
186:castrato
179:Lotario
60:Adelaide
51:libretto
2395:Commons
2048:sonatas
2046:XV solo
1891:Anthems
1723:Jephtha
1702:Solomon
1695:Susanna
1606:Part II
1590:Messiah
1562:Athalia
1555:Deborah
1501:Alceste
1374:Arminio
1325:Orlando
1311:Sosarme
1276:Tolomeo
1138:Rinaldo
1124:Rodrigo
1009:Sources
888:4 April
706:Lotario
552:Lotario
485:Lotario
464:Lotario
432:Rinaldo
427:Rinaldo
417:Lotario
174:del Pò
167:soprano
113:Lotario
109:Lotario
101:Lotario
94:Lotario
47:Italian
30:Lotario
2446:Operas
2314:London
2244:Gideon
1872:Gloria
1681:Joshua
1639:Semele
1632:Samson
1601:Part I
1548:Esther
1423:Imeneo
1360:Alcina
1346:Oreste
1318:Catone
1255:Admeto
1213:Flavio
1206:Ottone
1117:Almira
1109:Daphne
1091:Operas
1023:
996:1 July
958:
862:1 July
826:1 July
577:Label
510:and
468:Ottone
297:(Aria:
69:London
45:. The
2405:Audio
2309:Halle
2237:Nabal
2222:Other
2038:Flute
1494:Comus
1409:Serse
1269:Siroe
1164:Silla
1157:Teseo
856:(PDF)
845:(PDF)
721:Notes
662:2017
618:2004
582:2003
563:Cast:
560:Year
357:Act 3
317:Act 2
288:Act 1
282:Pavia
204:tenor
151:Role
127:Roles
2340:Will
2191:Opus
2127:367b
2122:367a
2107:364b
2102:364a
2097:363b
2092:363a
2072:359b
2067:359a
2044:and
2042:solo
1569:Saul
1304:Ezio
1297:Poro
1021:ISBN
998:2014
969:2013
956:ISBN
926:2016
890:2019
864:2014
828:2014
802:2016
777:2016
446:and
259:bass
183:alto
2182:379
2177:378
2172:376
2167:375
2162:374
2157:373
2152:372
2147:371
2142:370
2137:369
2132:368
2117:366
2112:365
2087:362
2082:361
2077:360
2055:358
744:doi
740:III
683:CD:
403:).
391:).
353:).
329:of
309:).
67:in
57:'s
35:HWV
2422::
2040:,
1106:,
989:.
917:.
898:^
880:.
847:.
819:.
793:.
767:.
756:^
738:.
520:.
284:.
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2063:"
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1457:"
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1100:(
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1000:.
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892:.
866:.
830:.
804:.
779:.
750:.
746::
641:,
634:,
629:,
624:,
595:,
588:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
