La Resurrezione
Encyclopedia
La resurrezione is a sacred oratorio
by George Frideric Handel
, set to a libretto by Carlo Sigismondo Capece (1652–1728). Capece was court poet to Queen Maria Casimira of Poland, who was living in exile in Rome. It was first performed on the Easter Sunday of 1708 at Rome
, with the backing of the Marchese Francesco Ruspoli, Handel's patron at this time. The work details the events between - and during - Good Friday and Easter Sunday, with the action carried forward in recitative
, and exploration of character and delineation of mood taking place in the aria
s. The characters of the liturgical drama that appear in the oratorio are Lucifer (bass), Mary Magdalene (soprano), an Angel (soprano), St John the Evangelist (tenor), and St Mary Cleophas (alto).
, La resurrezione was certainly produced in an operatic manner. It was produced at Ruspoli
's Palazzo in the main hall on the ground floor. A series of terraced seats, 4 in number, was built for the orchestra, curved towards the audience and rising at the back. Twenty-eight specially commissioned music stands were built for the occasion, engraved with either the coat-of-arms of Ruspoli or his wife. The proscenium
was decorated with a tapestry depicting cherubs, palm trees, and foliage: in the middle of which hung a plaque with the name of the oratorio. The 46 letters were spread out over 4 lines, each letter about 18 cm in height. These letters were brought into prominence by the backing light of seventy light pans. The canvas backdrop represented pictorially the characters of Handel's oratorio, and in the centre was depicted the resurrection itself.
The role of Mary Magdalene was sung at the first performance by the soprano
Margherita Durastanti
. The participation of female singers was prohibited by Papal edict, and the Pope went to the length of admonishing Ruspoli for permitting Durastanti to take part. For the remaining performances, her role was sung by a castrato
. The only details given concerning this individual are that he was called "Pippo", and that he was in service to the former Queen Casimiri. Durastanti later sang the title role in Handel's Agrippina
. The aria "Ho un non so che" , which she had sung as Mary Magdalene anticipating the resurrection, appears entirely unadapted for her to sing in Agrippina, though in a different context. The violins at the first performance of La resurrezione were led by the famous violinist Arcangelo Corelli
(who also conducted the work).
Other catalogues of Handel's music have referred to the work as HG
xxxix; and HHA
i/3.
, Leipzig 1878)
Oratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
by George Frideric Handel
George Frideric Handel
George Frideric Handel was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music...
, set to a libretto by Carlo Sigismondo Capece (1652–1728). Capece was court poet to Queen Maria Casimira of Poland, who was living in exile in Rome. It was first performed on the Easter Sunday of 1708 at Rome
Rome
Rome is the capital of Italy and the country's largest and most populated city and comune, with over 2.7 million residents in . The city is located in the central-western portion of the Italian Peninsula, on the Tiber River within the Lazio region of Italy.Rome's history spans two and a half...
, with the backing of the Marchese Francesco Ruspoli, Handel's patron at this time. The work details the events between - and during - Good Friday and Easter Sunday, with the action carried forward in recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
, and exploration of character and delineation of mood taking place in the aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s. The characters of the liturgical drama that appear in the oratorio are Lucifer (bass), Mary Magdalene (soprano), an Angel (soprano), St John the Evangelist (tenor), and St Mary Cleophas (alto).
First performance
A large orchestra was employed for the occasion, consisting of 39 strings of varying types, 1 bass viol, 2 trumpets, 1 trombone, and 4 oboes. The staging and scenery were also lavishly produced, and though Roman censorship of the time forbade operaOpera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
, La resurrezione was certainly produced in an operatic manner. It was produced at Ruspoli
Ruspoli
The Ruspoli are an old and noble Italian family .The origins of the family can be traced back to the Ruspolis of Florence in the 13th Century and through the family's claimed direct descent from Marius Scotus in the 8th Century and the Marescottis of Bologna...
's Palazzo in the main hall on the ground floor. A series of terraced seats, 4 in number, was built for the orchestra, curved towards the audience and rising at the back. Twenty-eight specially commissioned music stands were built for the occasion, engraved with either the coat-of-arms of Ruspoli or his wife. The proscenium
Proscenium
A proscenium theatre is a theatre space whose primary feature is a large frame or arch , which is located at or near the front of the stage...
was decorated with a tapestry depicting cherubs, palm trees, and foliage: in the middle of which hung a plaque with the name of the oratorio. The 46 letters were spread out over 4 lines, each letter about 18 cm in height. These letters were brought into prominence by the backing light of seventy light pans. The canvas backdrop represented pictorially the characters of Handel's oratorio, and in the centre was depicted the resurrection itself.
The role of Mary Magdalene was sung at the first performance by the soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
Margherita Durastanti
Margherita Durastanti
Margherita Durastanti was an Italian singer of the 18th century. Vocally, she is best described as a soprano, though later in her career her tessitura descended to that of a mezzo-soprano. First heard of professionally in Mantua in 1700-01, she later appeared in Bologna and Reggio Emilia , Milan...
. The participation of female singers was prohibited by Papal edict, and the Pope went to the length of admonishing Ruspoli for permitting Durastanti to take part. For the remaining performances, her role was sung by a castrato
Castrato
A castrato is a man with a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto voice produced either by castration of the singer before puberty or one who, because of an endocrinological condition, never reaches sexual maturity.Castration before puberty prevents a boy's...
. The only details given concerning this individual are that he was called "Pippo", and that he was in service to the former Queen Casimiri. Durastanti later sang the title role in Handel's Agrippina
Agrippina (opera)
Agrippina is an opera seria in three acts by George Frideric Handel, from a libretto by Cardinal Vincenzo Grimani. Composed for the Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of...
. The aria "Ho un non so che" , which she had sung as Mary Magdalene anticipating the resurrection, appears entirely unadapted for her to sing in Agrippina, though in a different context. The violins at the first performance of La resurrezione were led by the famous violinist Arcangelo Corelli
Arcangelo Corelli
Arcangelo Corelli was an Italian violinist and composer of Baroque music.-Biography:Corelli was born at Fusignano, in the current-day province of Ravenna, although at the time it was in the province of Ferrara. Little is known about his early life...
(who also conducted the work).
Other catalogues of Handel's music have referred to the work as HG
Händel-Gesellschaft
Between 1858 and 1902, the Händel-Gesellschaft, or "German Handel Society," produced a collected 105-volume edition of the works of Georg Frideric Handel. Even though the collection was initiated by the society, many of the volumes were published by Friedrich Chrysander working alone...
xxxix; and HHA
Hallische Händel-Ausgabe
The Hallische Händel-Ausgabe is a multi-volume collection of the works of George Frideric Handel. It was first published in the 1950s: initially as an adjunct to the HG edition, but by 1958 as a collected edition in its own right...
i/3.
Structure
| Part | Type | Voice | Name |
|---|---|---|---|
| I | Overture | ||
| I | Aria | Angel | Disserratevi, oh porte d'averno |
| I | Recitative | Lucifer | Qual in solita luce |
| I | Aria | Lucifer | Caddi è ver, ma nel cader |
| I | Recitative | Angel, Lucifer | Ma che veggio |
| I | Recitative | Angel, Lucifer | Chi sei |
| I | Aria | Angel | D'amor fu consiglio |
| I | Recitative | Angel, Lucifer | Ebben, questo tuo Nume |
| I | Aria | Lucifer | O' voi dell'Erebo |
| I | Recitative | Mary Magdalene | Notte funesta |
| I | Aria | Mary Magdalene | Ferma l'ali |
| I | Recitative | Mary Magdalene, St Mary Cleophas | Concedi o Magdalena |
| I | Recitative | Mary Magdalene, St Mary Cleophas | Ahi dolce mio Signore |
| I | Duet | Mary Magdalene, St Mary Cleophas | Dolci chiodi |
| I | Recitative | St John, Mary Magdalene, St Mary Cleophas | O Cleofe |
| I | Aria | St John | Così la tortorella talor piange |
| I | Recitative | Mary Magdalene | Se Maria dunque spera |
| I | Aria | Mary Magdalene | Ho un non so che nel cor |
| I | Recitative | Angel | Uscite pur |
| I | Finale | All | Il Nume vincitor trionfi |
| II | Overture | ||
| II | Recitative | St John | Di qual nuovi portenti |
| II | Aria | St John | Ecco il sol ch'esce dal mar |
| II | Recitative | St John | Ma ove Maria dimora |
| II | Aria | Angel | Risorga il mondo |
| II | Recitative | Angel | Di rabbia indarno freme |
| II | Duet | Angel, Lucifer | Misero! Ho pur udito? |
| II | Aria | Lucifer | Per celare il nuovo scorno |
| II | Recitative | Angel | Oh come cieco il tuo furor delira |
| II | Duet | Angel, Lucifer | Impedirlo saprò |
| II | Recitative | Mary Magdalene, St Mary Cleophas | Amica, troppo tardo |
| II | Aria | Mary Magdalene | Per me già di morire |
| II | Recitative | Lucifer | Ahi abborrito nome |
| II | Aria | St Mary Cleophas | Vedo il ciel |
| II | Recitative | Mary Magdalene, Angel, St Mary Cleophas | Cleofe, siam giunte al luogo |
| II | Aria | Angel | Se per colpa di donna |
| II | Recitative | Mary Magdalene | Mio Giesù, mio Signore |
| II | Aria | Mary Magdalene | Del cielo dolente |
| II | Recitative | St Mary Cleophas | Sì, sì cerchiamo pure |
| II | Aria | St Mary Cleophas | Augeletti, ruscelletti |
| II | Recitative | St Mary Cleophas, St John | Dove si frettolosi |
| II | Aria | St John | Caro figlio |
| II | Recitative | Mary Magdalene, St Mary Cleophas, St John | Cleofe, Giovanni, udite |
| II | Aria | Mary Magdalene | Se impassibile, immortale |
| II | Recitative | Mary Magdalene, St Mary Cleophas, St John | Sì, sì col redentore |
| II | Final | All | Diasi lode in cielo, in terra |
E-book
Score of La Resurrezione (ed. Friedrich ChrysanderFriedrich Chrysander
Karl Franz Friedrich Chrysander was a German music historian and critic, whose edition of the works of George Frideric Handel and authoritative writings on many other composers established him as a pioneer of 19th-century musicology.Born at Lübtheen, in Mecklenburg-Schwerin, Chrysander was the son...
, Leipzig 1878)