Riccardo Primo

• Riccardo Imo, King of England ( Richard the Lionheart ) (mezzo- soprano)
• Costanza, his fiancée and daughter of King Sancho VI. of Navarre (soprano )
• Isacio, ruler of Cyprus ( bass)
• Pulcheria, his daughter, " The Maid of Cyprus" (soprano )
• Berardo, Costanza's cousin and protector ( bass)

Riccardo Primo, re d' Inghilterra (HWV 23) is an opera ( Melodrama ) in three acts by George Frideric Handel. It was the third opera for the singers - Bordoni Triumvirate / Cuzzoni / Senesino. Basis of the action is a historic confrontation between Richard the Lionheart, King of England, and Isaac Comnenus, the Byzantine rulers in Cyprus, in the run-up to the Third Crusade, during Richard's voyage to the Holy Land in the year 1191st

Formation

With the aborted performance of Astianatte of Bononcini because of the scandalous disputes on the open stage on June 6, 1727, the eighth season of the Royal Academy of Music was terminated prematurely. Yet another Handel opera had already been completed: Riccardo Primo. These he composed in the spring of 1727, while his Alceste ran and Faustina Bordoni and the rivalry between Cuzzoni almost daily, fueled by the press and public, came to a head. Apparently he had planned to Riccardo bring out in June, but the death of King George I on 11 June took a temporary closure of all theaters in the city after himself. The crisis situation on Handel's stage had already asked after a pause.

Handel had at first scarcely decided for political reasons to the processing of this substance, as in the literature it is often assumed, because the historical events that are cited as reasons for this ( the death of George I and the accession of George II shortly thereafter ), were not made until after the end of the composition. Handel listed at the end of his score: " Fine dell ' Opera | GFH May 16, 1727 ". Plausible for the choice of this libretto appears the fact that it offered three approximately equal leading roles for two female and one male performer, Handel needed to correspondingly equally effective use of the two prima donnas Cuzzoni and Faustina and the Starkastraten Senesino their rank in the piece. What role does the choice of the English theme with in February almost the same time, held British citizenship ceremony at Handel, one of the last acts of George I, played, remains speculative, but it is this parallel was certainly aware. Later, however, he was able to follow with the picking up of this substance a dual purpose: on the one hand, he courted so the straight ( in June 1727) enthroned and crowned King George II in October, as the librettist Paolo Rolli Antonio pointed out in a sonnet, which he as a dedication sat down at the beginning of the printed text book, on the other hand they were looking through the treatment of a national subjects the English public for the Italian opera again more interested.

In August 1727 Handel was commissioned to compose the music for the coronation of King George II, which was to take place on October 11. The four Coronation Anthems created for that day. Simultaneously, the upcoming premiere of Riccardo was so to speak the " coronation opera " The pervasive national- patriotic feeling, which was caused by the coronation ceremonies, is reflected in Handel's Riccardo Primo makeovers of the resist in early autumn 1727. The premiere took place on November 11, 1727 at King 's Theatre in the Haymarket instead.

Performers of the premiere:

• Riccardo - Francesco Bernardi, called " Senesino " ( Mezzosoprankastrat )
• Costanza - Cuzzoni (soprano )
• Isacio - Giuseppe Maria Boschi ( bass)
• Pulcheria - Faustina Bordoni (soprano )
• Oronte - Antonio Baldi ( alto castrato )
• Berardo - Giovanni Battista Palmerini ( bass)

At the time of performance of the opera apparently was already foreseeable that the Opera Academy, then the center in 1728 had their last performance, the end was approaching. Firstly, the financial bankruptcy was imminent because of the enormous expenditure on the celebrity singers, on the other hand, the public understanding of the intrigues of the Italian opera was exhausted. Handel's lifelong admirer and neighbor in Brook Street, Mrs. Pendarves, wrote on 25 November to her sister:

" I doubt operas will not survive longer than this winter, They Are At Their now load gasp; the subscription is expired and nobody wants to renew it. The directors are all squabbling, and theyhave so many divisions among Themselves did I wonder theyhave not broke up before. Senesino goes away next winter, and I believe Faustina, so you see harmony is almost out of fashion. "

"I doubt that the opera will survive this winter, it is on its last legs; the subscription has expired, and no one will replace it. Between the directors take place all the arguments; so divided among themselves, as they are, it is surprising that they have not separated for a long time; Senesino will leave the Opera next winter, and Faustina my knowledge also; you see, harmony is almost out of fashion. "

The opera came to eleven performances until mid-December of this year. It is unclear whether there are further performances took place in January 1728. Then the piece by Handel was not resumed, but he took over parts of the music in other of his works.

In the 1730s, the opera was also in Hamburg and Braunschweig on the Schedule: At the Hamburg opera at the goose market, they came under the title The Failed bride exchange or Richardus I King of England on 3 February 1729 a German translation of the recitatives of Christoph Gottlieb Wend to the performance. The conductor of this performance was Georg Philipp Telemann for the bucolic characters of the story added also wrote the arias and recitatives, the German Wends set to music. This version was first performed in modern times on 15 March 1996 in Magdeburg back of the Akademie für Alte Musik Berlin under the direction of Nicholas McGegan. As a second stage on the continent followed Braunschweig, The Lion Heart, King was where the work in 1729 and in 1734 named as Riccardus listed in Engelland. Georg Caspar Schürmann had made for the recitatives and the final chorus a German version of the text and in the performances in 1729 and the musical director. 1734 directed the performances Carl Heinrich Graun. Also, in some pastiche opera ( Oreste, London 1734, Hermann von Balcke, Elbing in 1737, and Lucio vero, London 1747 ) was resorted to arias from Riccardo Primo.

The first modern rendering of the opera was on July 8, 1964, in English language ( version: Arthur Jacobs) in the Sadler's Wells Theatre in London with the Philomusica of London under the direction of Charles Farncombe instead. For the first time in his historical figure could be heard in connection with the CD production of the entire work on June 3, 1995 Les Talens Lyriques Christophe Rousset at the piece in a concert performance in the French Fontevraud L'Abbaye.

Action

Historical and literary background

Richard I., surnamed " the Lionheart " (1157-1199), son of Henry II and Eleanor of Aquitaine, England reigned from 1189 to 1199. To his adventurous life, his struggles with his father, his participation in the Third Crusade, his captivity in the castle Trifels and his death at the Battle twined early numerous legends. On May 6, 1191 on the way to Jerusalem, during the crusade, he conquered Cyprus, which had been an independent state for a short time under Isaac Comnenus, and married six days later Berengaria of Navarre, says the libretto Costanza. This had been set come accompanied by Richards sister Johanna on the way from Sicily to Jerusalem with the ship in distress, stranded before Cyprus and captured by Isaac Komnenos.

Act I

( Riccardo is on a crusade to Jerusalem Bad weather tears his fleet during the journey across the Mediterranean apart but actually he wanted but the Princess Costanza marriage. ... ). Costanza and Berardo have suffered from the coast of Cyprus shipwreck; Costanza is convinced that Riccardo drowned. Isacio Pulcheria and Oronte occur, and Isacio asks the castaways from. Costanza concealed their identities and says that her name was " Doride " Berardo and her brother " Narsete " was. Isacio is entranced by her beauty; he invites them to his palace and instructs Pulcheria, to prepare for her wedding to Oronte. He then orders Oronte to destroy the remains of the English ships. A tent camp near the shore. Riccardo has learned that Costanza was alive, and brings his love of expression, even though he has never seen. He plans to go incognito in Isacios palace. Costanza and Berardo are alone. Orontes and Pulcheria meet, and Oronte makes Costanza to Pulcherias chagrin the yard. Isacio woos Costanza, the retreats in horror. She begs to be left alone, and goes out. Orgon announces that a messenger had arrived Riccardo. Costanza is overjoyed that Riccardo is still alive. Riccardo occurs as his own ambassador in disguise. Isacio is polite and promises to pass Costanza. Riccardo is impressed and pleased.

Costanza asks Berardo whether Riccardo knew that she was alive, and he promises to find out. Isacio says Costanza, he knew who she was, and promises that she 'll be reunited soon with her ​​husband. But since he knows that Riccardo Costanza has never seen, he plans to send in its place Pulcheria to Riccardo. It calls on Pulcheria to forget Oronte - what to do she is ready because she is angry with him - and to prepare for their new honor as Queen of England; He is proud of its sophistication. Pulcheria is shocked and distraught over this fraud, and as soon as she's alone, she vowed to expose him. Berardo has heard everything and reported Costanza and Oronte it. Orgon promises to avenge them both, and Costanza longs that Riccardo comes to her. Riccardo and his army prepare Pulcheria and her entourage a ceremonial reception. In the opinion, that it was Costanza, he is disappointed at the sight of her, though he appreciates its beauty. Oronte rushes in and reveals the fraud. Riccardo is angry. Pulcheria accused her father and offers to stay behind as a hostage, because it respects Riccardo's honor. He asks her to return to Isacio. You rumbles Oronte still and feels rejected by all. Oronte offers Riccardo to his troops to use; Riccardo swears revenge, and Oronte hopes that the sense of honor led by love will triumph in the end. Riccardo versa, still disguised, to the palace. He throws Isacio against fraud. When he asks him to keep the agreements, Isacio responded defiantly. Pulcheria returns from Riccardo's camp, and Isacio pretends to accept Costanza's release. Pulcheria introduces Riccardo Costanza, and finally she reveals to her his identity. After she has taken out insurance of their own pride, they can Riccardo and Costanza alone, which now assure each other of their love.

Act Three

Music

The opera goers, it is not difficult to put the Riccardo Primo because of the balance of intimacy and opulence as well as a halfway plausible and exciting action in the forefront of Handel operas.

On one of the finest and most spirited Handel's overtures, which, like the is to Alceste, only two sentences, followed by an opening scene, which also recalls the early days of the Alceste: a longer instrumental set to storm at sea, an accompanied recitative and aria. The fact that Handel used to develop such statements and precautionary measure very pure, you can see here even at the crossed-out sketch of an earlier version, which is preserved in the original. Then initiates the action in famous opera tracks, and the composer showered us with beautiful arias, in which his singers could show the full state. Is also found in this work some vocal turn which soon became general application and was later well- specified as "invented" by others. This extends even to the coloratura; see, for example, only the arias Agitato da fiere tempeste (No. 8) for Senesino and Vado by obedirti (No. 3) for Faustina. From the latter says Charles Burney:

" [ ... ] Is the most agreeable song of execution of the times. I have been told did the brilliancy of her voice made ​​its way through the busy accompaniment of this song in a manner Which filled the whole theater. A close in this air Appears for the first time, Which Has since become fashionable, as well as the return to the subject in the Da Capo. "

" [ ... ] It is one of the most beautiful songs of the time flying colors. I was told, the brilliant voice of Faustina had worked through the busy accompaniment gloriously fulfilled and the whole theater. The conclusion of this aria appears here for the first time, it has come since then in fashion; as the decline of the middle part to the subject at Da Capo. "

The voice here quick as it were, on the main idea back, and achieves the tone of e'', which was so extraordinarily powerful Faustina Bordoni at. By the way, is not Faustina, but Cuzzoni in this opera the main character; Signora Cuzzoni was, as we know, is always preferred by the court. In the third act of the opera, the most beautiful sound sets and the most effective scenes are laid.

Orchestra

Discography

• L' Oiseau Lyre 452201-2 (1995 ): Sara Mingardo ( Riccardo ), Sandrine Piau ( Costanza ), Roberto Scaltriti ( Isacio ), Claire Brua ( Pulcheria ), Pascal Bertin ( Oronte ), Olivier Lallouette ( Berardo )

• DHM 88697174212 (2007): Lawrence Zazzo ( Riccardo ), Nuria Rial ( Costanza ), David Wilson -Johnson ( Isacio ), Geraldine McGreevy ( Pulcheria ), Tim Mead ( Oronte ), Curtis Streetman ( Berardo )