Handel's operas revolutionized 18th-century music. His use of da capo arias, recitatives, and spectacular staging captivated audiences. Handel's works blended Italian, French, and German styles, setting new standards for vocal virtuosity and emotional expression.
Initially successful in London, Handel's operas faced challenges as tastes changed. His influence on opera seria and vocal writing lasted well beyond his lifetime. Handel's shift to English oratorios later in his career showcased his adaptability and enduring musical genius.
Handel's Operatic Works and Their Reception
Key features of Handel's operas
- Emphasized the da capo aria form which allowed for virtuosic vocal displays and emotional expression by featuring a contrasting middle section and an ornamented repeat of the opening section
- Used recitative to advance the plot and provide context through secco recitative accompanied by basso continuo for dialogue and plot development and accompagnato recitative accompanied by orchestra for heightened emotional moments
- Integrated dance and spectacle by including ballet sequences and elaborate staging to enhance the visual and dramatic aspects of the opera
- Adapted libretti from various mythological, historical, and literary sources in collaboration with prominent librettists (Nicola Francesco Haym, Paolo Antonio Rolli)
Reception of Handel's operas
- Initially successful in London with the debut of "Rinaldo" (1711) at the Queen's Theatre, Haymarket establishing Handel's reputation as a leading opera composer
- Formed the Royal Academy of Music (1719) with Handel as the main composer and music director producing successful operas ("Radamisto" in 1720, "Giulio Cesare" in 1724)
- Rivaled with the Opera of the Nobility (1733-1737) for audiences and singers but continued success with works like "Ariodante" (1735) and "Alcina" (1735)
- Experienced a decline in popularity and shifted towards oratorios due to changing public tastes and economic factors leading to Handel's adaptation and focus on English-language oratorios
Handel's style vs contemporaries
- Incorporated Italian stylistic elements and emphasized vocal virtuosity and expressive arias similar to Italian composers (Alessandro Scarlatti, Antonio Vivaldi)
- Used dance and chorus less frequently and focused more on solo arias and recitatives in contrast to French composers (Jean-Baptiste Lully, Jean-Philippe Rameau)
- Shared influences from Italian opera seria and incorporated elements from French and German musical traditions like German composers (Reinhard Keiser, Georg Philipp Telemann)
Influence on operatic development
- Established the opera seria format by standardizing the three-act structure and alternation of recitatives and arias serving as a model for subsequent composers throughout the 18th century
- Showcased the capabilities of the human voice by writing for star singers (Francesca Cuzzoni, Faustina Bordoni) and inspiring future generations of composers to explore vocal possibilities
- Impacted the English opera tradition by influencing composers (Thomas Arne, John Frederick Lampe) and paving the way for the development of English-language opera and oratorio
- Left a legacy in the 19th century and beyond with a revival of interest in Handel's operas during the bel canto era and continued performance and adaptation of his works in modern times