Radamisto Opera seria in tre atti The versions of the 1720 and 1721 performances HWV 12b
German Translation by Michael Pacholke
Vocal Score based on the Urtext of the Halle Handel Edition by Michael Pacholke
BA 4066a
Preface Contents Preface
This vocal score has as its main text the music of the revised version of the opera which was first performed at the King's Theatre in the Haymarket on 28 December 1720, and also the alterations made for the revival in November 1721.
The Appendix contains information about the version performed in January - February 1728. The first version of the opera was composed probably in the spring of 1720, and had its premiere on 27 April at the King's Theatre. The libretto, almost certainly by Nicola Haym, was an adaptation of Domenico Lalli's L'amor tirannico, which had been originally set to music by Francesco Gasparini and performed in Florence in 1712. A full account of the composition-history of the opera and its libretto is given in the Preface to Radamisto I, HHA Series II, volume 9.1.
Radamisto was Handel's first opera for the Royal Academy of Music, a joint-stock company which had been set under Royal patronage in 1719 by a group of noblemen for the purpose of promoting opera in London. From the outset the Academy wished to recruit the best Italian singers for the project, especially the internationally renowned castrato Senesino, and the bass Giuseppe Boschi; but by the time the opera had to be written, the necessary contractual arrangements for the engagement of these singers had not been completed. Handel was therefor obliged to compose the work for the singers he had available.
The first season of the Royal Academy ended on 25 June 1720; in September the new team of singers arrived London, in time for the second season, which began on 19 November with Bononcini's Astarto, the first opera in which a London audience heard Senesino. Since Radamisto had been a great success in the first season, it was logical that Handel should rewrite it to suit his new, stronger cast.
The revision was extensive, involving 1) changes of voice for Radamisto (soprano to alto, for Senesino), Zenobia (alto to soprano, for Durastanti, who changed roles), and Tiridate (tenor to bass, for Boschi); 2) the composition of new arias and ensembles; 3) a major change to the plot.
For most of Handel's operas it can be demonstrated that the first version is the best: so often in revivals he was forced the constraints of casting into changes which upset the balance and dramatic coherence of the work; but it may be argued that Radamisto is an exception to this general rule, and that the revision of December is a better composition than the one performed in April. As well as the strengthening of the third act, of which another striking feature ist the replacement of Polissena's brilliant but overlong and dramatically static aria "Sposo ingrato" by the much more powerful "Barbaro, partirò", the second act also was given a tighter structure by the elimination of Fraarte's love for Zenobia.
It was not all gain, however. Some beautiful movements were discarded, such as Fraarte's "Mirerò quel vago volto" in the first act, replaced besause he was no longer a lover; furthermore, Handel slowed the action at two critical points: at the beginning of the first act, where instead of a single aria for Tigrane after Polissena's opening cavatina, there were now two, one for Fraarte and one for Tigrane; and Act II scene 2, where the interpolation of Tigrane's "Vuol ch'io serva" interrupts the link between the opera's most dramatic incident, Zenobia throwing herself into the river, the improvements far outweigh the losses.
The new version of Radamisto was first performed at the King's Theatre in the Haymarket on 28th December 1720, with the following cast: Radamisto Francesco Bernardi, called Senesino (alto castrato)
Zenobia Margherita Durastanti (soprano)
Polissena Maddalena Salvai (soprano)
Fraarte Caterina Galerati (soprano)
Tigrane Matteo Berselli (soprano castrato)
Tiridate Giuseppe Maria Boschi (bass)
Farasmane John Lagarde (bass)
In April Durastanti had sung Radamisto, and Galerati had sung Tigrane; Lagarde retained his part. There were repeat performances on 31. December, 4, 21, 25 January 1721, 21 and 25 March.
The main text of the present vocal score gives the opera as it was performed that season. Some of the music originally in the extant performing score, which is the only complete copy of this version of the work, has been lost because it was discarded in the
1728 revival. This means that several recitatives which are partly or wholly missing from it have had to be reconstructed for this edition; the reconstruction is based on the evidence of the printed libretto of December 1720, and the music of the other versions of the opera: full details are given in the Preface and Critical Report of the full score (BA 4066).
No libretto has survived for the four performances in November and December 1721. From the performing score it may be deduced that the version given was that of December 1720, but with the part of Fraarte eliminated. The 1721 version may well be considered an attractive alternative to the longer text of December 1720.
Terence Best
Contents
Ouverture
Atto primo
Scena I 1. Cavatina Sommi Dei (Polissena)
Recitativo Reina, infausto avviso (Tigrane, Polissena, Fraarte)
2. Aria Deh, fuggi un traditore (Fraarte)
Recitativo Seguirem dunque (Tigrane, Polissena)
3. Aria L'ingrato non amar (Tigrane)
Scena II
Recitativo (Ecco l'infido sposo.) (Polissena, Tiridate)
4. Aria Tu vuoi ch'io parta (Polissena)
Scena III
Recitativo Il crudel odio tuo (Farasmane, Tiridate)
5. Aria Con la strage de' nemici (Tiridate)
Scena IV
Recitativo Ove seguir mi vuoi (Radamisto, Zenobia)
6. Aria Cara sposa, amato bene (Radamisto)
Scena V
Recitativo Ver le nemiche mura (Fraarte, Zenobia, Radamisto, Farasmane)
7. Aria Son contenta di morire (Zenobia)
Scena Vl
Recitativo Seguila, o figlio! (Farasmane, Radamisto, Fraarte)
8. Aria Perfido, di a quell'empio tiranno (Radamisto)
Scena VII
Recitativo Fraarte, omai quel ferro (Farasmane, Tigrane, Fraarte)
9. Aria Son lievi le catene (Farasmane)
Scena VIII
Recitativo Coraggio, amici! (Fraarte, Tigrane)
10. Sinfonia
Scena IX
Recitativo Già vint'è il nemico (Tiridate, Tigrane)
Scena X
Recitativo Ferma: dove ti spinge (Polissena, Tiridate)
Scena XI
Recitativo Quanto deggio, o Tigrane (Polissena, Tigrane)
11. Aria Segni di crudeltà (Tigrane)
Scena XII
Recitativo Purtroppo è vero (Polissena)
12. Aria Dopo l'orride procelle (Polissena)
Atto secondo
Scena I
Recitativo Sposo, vien meno il piè (Zenobia, Radamisto)
13. Cavatina Quando mai, spietata sorte (Zenobia)
Recitativo Oh crudo ciel! (Radamisto, Zenobia)
Scena II
Recitativo Ahimè! Fermati (Radamisto, Tigrane)
14. Aria Vuol ch'io serva (Tigrane)
Recitativo Prencipe generoso (Radamisto)
15. Aria Ombra cara (Radamisto)
Scena III
Recitativo Mitiga il grave affanno (Fraarte, Zenobia)
16. Aria Lascia pure amica spene (Fraarte)
Recitativo Oh senza esempio (Zenobia)
17. Aria Già che morir non posso (Zenobia)
Scena IV
Recitativo Signor ... / E che mi rechi? (Fraarte, Tiridate)
Scena V
Recitativo Eccomi a te davante (Zenobia, Tiridate)
18. Aria Sì che ti renderai (Tiridate)
Scena VI
Recitativo Nulla già di speranza (Zenobia)
19. Aria Fatemi, o Cieli, almen (Zenobia)
Scena VII
Recitativo Questo vago giardin (Tigrane, Radamisto, Polissena)
20. Aria La sorte, il ciel, amor (Tigrane)
Scena VIII
Recitativo Adorato german (Polissena, Radamisto)
21. Aria Vanne, sorella ingrata (Radamisto)
Scena IX
Recitativo Tra il german (Polissena)
22. Aria Che farà quest'alma mia (Polissena)
Scena X
23. Aria Troppo sofferse (Zenobia)
Recitativo Due seggi, olà! (Tiridate, Zenobia, Tigrane)
Scena XI
Recitativo All'innocente frode (Radamisto, Tiridate, Zenobia)
24. Cavatina Empio, perverso cor! (Zenobia)
Recitativo Ascolta, Ismen (Tiridate)
Scena XII
Recitativo Oh dì per me felice! (Zenobia, Radamisto)
25. Duetto Se teco vive il cor (Zenobia, Radamisto)
Atto terzo
Scena I
Recitativo Stanco di più soffrir (Tigrane, Fraarte)
26. Aria S'adopri il braccio armato (Fraarte)
Scena II
Recitativo So ben che nel mio amore (Tigrane)
27. Aria So ch'è vana la speranza (Tigrane)
Scena III
Recitativo Non temo, idolo mio (Radamisto, Zenobia)
28. Aria Dolce bene di quest'alma (Radamisto)
Scena IV
Recitativo O della Tracia (Tiridate, Zenobia)
Scena V
Recitativo Teco son io (Radamisto, Polissena, Farasmane, Tiridate)
29. Accompagnato Vieni, d'empietà mostro crudele (Radamisto)
30. Aria Vile, se mi dai vita (Radamisto)
Recitativo Mio Re, mio Tiridate (Polissena, Tiridate)
31. Aria Barbaro, partirà (Polissena)
Scena VI
Recitativo Farasmane la segua. (Tiridate, Farasmane, Radamisto, Zenobia)
32. Aria Alzo al volo (Tiridate)
Scena VII
Recitativo Di Radamisto il capo? (Zenobia, Radamisto)
33. Aria Deggio dunque, oh Dio, lasciarti (Zenobia)
Recitativo Oh Dio, parte Zenobia (Radamisto)
34. Aria Qual nave smarrita (Radamisto)
Scena VIII
Recitativo In questo tempio (Tiridate, Farasmane)
Scena IX
Recitativo Spavento mio? (Zenobia, Tiridate)
Scena X
Recitativo Morrà Zenobia ancor? (Radamisto, Zenobia, Polissena, Tiridate, Farasmane)
35. Quartetto O cedere o perir (Radamisto, Zenobia, Polissena, Tiridate)
Scena XI
Recitativo Arrestatevi, o fidi! (tutti)
36. Duetto Non ho più affanni (Zenobia, Radamisto)
Recitativo Festeggi omai la reggia (Radamisto, Zenobia)
37. Coro Un dì più felice (tutti)