Giulio Cesare in Egitto HVW 17 HAENDEL GEORG FRIEDRICH

Classique

Contenu

Volume 1:
Zur Edition
Vorwort
Editorial Policy
Preface
Table of Versions
Concordance HWV-HHA
Facsimiles
Text des Hauptteils in deutscher Übersetzung
Texte der zusätzlichen Arien in den Anhängen mit deutscher und englischer Übersetzung / Texts of the additional arias in the appendices with German and English translation
Composer / Author:
Händel, Georg Friedrich
Giulio Cesare in Egitto HWV 17. Opera in three acts:
Instrumentation:
Soprano solo (2), Alto solo (3), Contralto Solo, Bass solo, Orchestra, Stae music
Librettist:
Haym, Nicola Francesco (nach Giacomo Francesco Bussani)
Duration (approx.):
03:30:00
Besetzung / Ensemble
Verzeichnis der Szenen / Index of Scenes
Score of 1724:
Ouverture
Atto primo
Atto secondo
Atto terzo
Volume 2:
Appendix I: Versions of 1725
Appendix Ia: Version performed in January / February
Appendix Ib: Nerina-arias for Benedetta Sorosina in February 1725
Appendix II: Versions of 1730 and 1732
Appendix IIa: Version performed in January / February 1730
Appendix IIb: Cleopatra-arias for Anna Strada in the two last
Appendix IIc: Changes of the 1730 version for the 1732 version
Appendix III: Movements cancelled before the first performance
Appendix IIIa: Complete reproduction of the Scenes 1–12 of the original draft (with diplomatic transcription of the texts of the recitatives)
Appendix IIIb: Other movements cancelled before the first performance
Appendix IV: Keyboard arrangement of the Ouverture and Coro no. 1
Kritischer Bericht:
Abkürzungen
RISM-Bibliothekssigel
Quellen: 1. Libretti, 2. Muskalische Quellen
Stemma
Editionsmethode
Einzelnachweise

Description :

“Giulio Cesare in Egitto” is by far Handel’s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel’s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations – essentially four versions – on the basis of a meticulous study of the sources within the framework of the “Halle Handel Edition”. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini.
The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically.
In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in “Giulio Cesare”. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel’s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions.