508:. Polyphemus threatens force but is somewhat soothed by the impartial shepherd, Coridon ("Would you gain the tender creature"). Meanwhile, Acis ignores Damon's warning of the fleeting existence of love's delight ("Consider, fond shepherd") and responds with hostility and the determination to resist ("Love sounds th' alarm"). Acis and Galatea promise eternal fidelity to each other in what begins as a duet ("The flocks shall leave the mountains") but ultimately turns into a trio when Polyphemus intrudes and in a rage murders Acis. Galatea, along with the chorus, mourns the loss of her love ("Must I my Acis still bemoan"). The chorus reminds her of her divinity and that with her powers she can transform Acis's body into a beautiful fountain. The work closes with Galatea's larghetto air, "Heart, the seat of soft delight", in which she exerts her powers to enact the transformation, ending with the chorus celebrating Acis's immortalisation.
224:, all of the music was original to this production. Perhaps the best-known arias from this piece are the bass solo: "I rage, I melt, I burn" and the tenor aria "Love in her eyes sits playing". The instrumental music for this first version was orchestrated for a minimum of seven players (basso continuo, strings, and oboes doubling recorders, however it is possible that the violins were doubled to add a fuller sound, and some early copies may indicate the use of a bassoon). The opera was first published in 1722, and enjoyed a number of amateur performances in England from as early as 1719.
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amongst which will be disposed a Chorus of Nymphs and
Shepherds, Habits, and every other Decoration suited to the Subject." Although successful, the three-act version was not as well received as Arne's production, as the mix of style and languages made the work oddly devised. Handel continued to make alterations to his 1732 version for successive performances up through 1741. He also gave performances of the original English work, adapting it into its two-act form in 1739.
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500:, singing "no joy shall last". The fugal minor-key of the chorus's music along with the percussive lines in the lower instruments, indicating the heavy footsteps of the giant, provides an effective dramatic transition into the more serious nature of the second act. Polyphemus enters singing of his jealous love for Galatea, "I rage, I melt, I burn", which is in a part-comic furioso accompanied
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Handel's two-act
English version is the basis for the form of the work that is most often performed today, although modern productions typically use a different arrangement from the one that he himself actually devised. The work became Handel's most widely performed dramatic work during his lifetime,
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and, according to Handel, included "a great Number of the best Voices and
Instruments". The work was advertised on posters saying the following, "There will be no Action on the Stage, but the Scene will represent, in a Picturesque Manner, a rural Prospect, with Rocks, Groves, Fountains and Grotto’s;
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It is not clear whether the original performance was staged, semi-staged, or performed as a concert work. The
Cannons version included only five singers – a soprano, three tenors and a bass – who not only sang the principal roles but also served as the "chorus". This version contained the character
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was written as a courtly entertainment about the simplicity of rural life and contains a significant amount of wit and self-parody. The secondary characters, Polyphemus and Damon, provide a significant amount of humor without diminishing the pathos of the tragedy of the primary characters, Acis and
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472:, is in love with the shepherd Acis, and tries to hush the birds that ignite her passion for him (Recit."Ye verdant plains" & Aria "Hush, ye pretty warbling quire!") Acis's close friend, the shepherd Damon, provides counsel to the lovers as they pursue each other. Acis sings a beautiful
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was first performed in the summer of 1718 at
Cannons with local tradition holding that the work was performed outside on the terraces overlooking the garden. This is the period in which the gardens at Cannons were being extensively 'improved' with water features that included an impressive
448:
has been adapted many times, it is impossible to provide a single synopsis that accurately reflects every presentation of the work. The following is a synopsis for the typical two-act presentation of the work that is most often used for modern performances.
178:), and there is some uncertainty as to whether he was the only author of the text. The structure of the writing indicates that the original work by Gay was intended for only three characters and that the text for more characters was added later, possibly by
119:
was by far Handel's most popular dramatic work and is his only stage work never to have left the opera repertory. The opera has been adapted numerous times since its premiere, with a notable arrangement being made by
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Galatea. The music of the first act is both elegant and sensual, while the final act takes on a more melancholy and plaintive tone. The opera was significantly influenced by the pastoral operas presented at the
227:
The work was not revived again professionally until 1731, when one performance was given in London without Handel's involvement. The following year, a staged production of the work was put on by
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The Little
Theatre's production was highly successful and Handel, somewhat annoyed by the way Arne had promoted the production, retaliated by adapting the work substantially into a three-act
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480:, "Love in her eyes sits playing", upon their first meeting. The act closes with a duet by the young lovers, "Happy we", which is echoed by a chorus (not in the Cannons original).
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as
Galatea. Arne advertised the work as "with all the Grand Chorus’s, Scenes, Machines, and other Decorations; being the first Time it ever was performed in a Theatrical Way'."
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265:(1708), as well as other music from further Italian cantatas and his Italian operas. The arias "Un sospiretto" and "Come la rondinella" were adapted from his cantata
82:
Handel later adapted the piece into a three-act serenata for the
Italian opera troupe in London in 1732, which incorporated a number of songs (still in Italian) from
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of
Coridon who was subsequently deleted from later versions. Aside from the aria "As when the dove," which is a reworking of "Amo Tirsi" from Handel's cantata
1980:
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in 1788. Handel never gave the work in the form in which it is generally heard today, since it contains music which, while by Handel, was never added by him.
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The opera shifts from its pastoral and sensual mood into an elegiac quality as the chorus warns Acis and
Galatea about the arrival of a monstrous giant,
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and has had a number of revivals in various forms, enjoying frequent performances throughout the 18th, 19th, 20th, and 21st centuries. Notably in 1788,
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152:) during 1717–1718. It was Handel's first dramatic work in the English language and was clearly influenced by the English pastoral operas of
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also served as influences, but overall the conception and execution of the work is wholly individual to Handel.
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Winton Dean. "Handel's Dramatic Oratorios and Masques". Oxford: Oxford University Press, 1959.
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was the pinnacle of pastoral opera in England. Indeed, several writers, such as musicologist
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71:" (in a letter by the composer while it was being written), an entertainment and by the
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at this time, given that the conclusion requires a fountain, seems particularly apt.
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whose writings were added to the work's text. The libretto also borrowed freely from
160:, of whom the latter worked with Handel at Cannons. The work is set to a libretto by
96:, consider it the greatest pastoral opera ever composed. As is typical of the genre,
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1232:( Score of Mozart's revision, KV 566, is in the supplement, series X group 28:1)
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79:. The work was originally devised as a one-act masque which premiered in 1718.
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Caricature of Senesino, who sang the role of Acis in the 1732 performances
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1051:"Acis and Galatea (Original Cannons Performing Version 1718)"
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243:. The production starred Thomas Mountier as Acis and
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Agrippina condotta a morire or Dunque sarĂ pur vero
190:'s English translation of Ovid published in 1717,
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1156:Recordings on operadis-opera-discography.org.uk
610:Academy & Chorus of St Martin in the Fields
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571:Saint Anthony Singers, Philomusica of London
55:. The work has been variously described as a
848:Audio CD and 24 bit download: Linn Records,
1265:
1258:
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1221:International Music Score Library Project
915:Audio CD Chandos Records Cat:CHSA0404(2)
302:The cast of the 1718 version is unknown.
192:The Story of Acis, Polyphemus and Galatea
1176:, ed. L. Macy (retrieved 1 April 2006),
1015:. Oxford University Press. p. 100.
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1784:L'Allegro, il Penseroso ed il Moderato
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282:rescored the work for his then-patron
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127:
1720:Il trionfo del Tempo e del Disinganno
1239:
880:Orchestra of the Age of Enlightenment
307:Roles, voice types, and premiere cast
140:Handel composed the first version of
2591:
969:
953:on operadis-opera-discography.org.uk
912:Christian Curnyn, Early Opera Group
464:enjoy "the pleasure of the plains".
2458:Keyboard suite in D minor (HWV 437)
1724:Il trionfo del Tempo e della VeritĂ
1170:Stanley Sadie. "Acis and Galatea",
1042:
941:Audio CD Coro Records Cat:COR16169
737:W.A. Mozart Edition, (K.566, 1788)
13:
1949:Ode for the Birthday of Queen Anne
150:James Brydges, 1st Duke of Chandos
14:
2678:
2114:Funeral Anthem for Queen Caroline
1202:
2627:Operas by George Frideric Handel
2600:
2590:
2580:
2579:
2135:Wedding anthem for Princess Anne
1342:
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492:Polyphemus, by Van Cleve, Louvre
694:with Robert Harre-Jones, alto
105:during the early 18th century.
2556:Handel & Hendrix in London
1149:
1127:"Synopsis of Acis and Galatea"
1119:
1093:
1068:
1029:
319:Revised version, 10 June 1732
1:
2662:Operas based on Metamorphoses
2229:Music for the Royal Fireworks
1728:The Triumph of Time and Truth
1194:Music Associates of America:
1101:"G. F. Handel's Compositions"
957:
511:
73:New Grove Dictionary of Music
2160:Utrecht Te Deum and Jubilate
2044:Tra le fiamme (Il consiglio)
1299:Handel's lost Hamburg operas
651:The English Baroque Soloists
355:Francesco Bernardi, called "
176:Acis and Galatea (mythology)
7:
1037:John Theophilus Desaguliers
439:
284:Baron Gottfried van Swieten
10:
2683:
1035:See the Knowledge article
771:Seattle Symphony Orchestra
433:Giovanni Battista Pinacci
18:
2574:
2523:
2497:
2474:Handel Reference Database
2466:
2452:The Harmonious Blacksmith
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2237:
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2190:
2151:
2142:Foundling Hospital Anthem
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2060:
2030:O lucenti, o sereni occhi
1972:
1963:Ode For St. Cecilia's Day
1933:
1711:
1679:
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1291:
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1013:Handel (Master Musicians)
103:Theatre Royal, Drury Lane
47:49) is a musical work by
2489:Hallische Händel-Ausgabe
2479:Händel-Werke-Verzeichnis
2467:Catalogs and collections
1209:Libretto of 1718 version
1011:Burrows, Donald (2012).
654:(Cannons Version, 1718)
483:
452:
336:Anna Maria Strada del Pò
289:
158:Johann Christoph Pepusch
136:Cannons House, Middlesex
51:with an English text by
19:Not to be confused with
2637:English-language operas
1988:Allor ch'io dissi addio
1942:Aci, Galatea e Polifemo
1847:Joseph and his Brethren
280:Wolfgang Amadeus Mozart
271:Italian opera in London
262:Aci, Galatea e Polifemo
210:, and so the choice of
144:while he was living at
122:Wolfgang Amadeus Mozart
84:Aci, Galatea e Polifemo
21:Aci, Galatea e Polifemo
2414:Concerti grossi, Op. 6
2409:Concerti grossi, Op. 3
2404:Organ concertos, Op. 7
2399:Organ concertos, Op. 4
2174:Queen Caroline Te Deum
1917:The Choice of Hercules
1267:George Frideric Handel
1187:(subscription access).
493:
299:
137:
49:George Frideric Handel
35:
33:George Frideric Handel
2002:Clori, Tirsi e Fileno
626:Anthony Rolfe Johnson
491:
297:
267:Clori, Tirsi e Fileno
245:Susannah Maria Cibber
221:Clori, Tirsi e Fileno
154:Johann Ernst Galliard
135:
31:
16:1718 masque by Handel
2536:Letters and writings
2009:Dalla guerra amorosa
1670:Va tacito e nascosto
1663:Svegliatevi nel core
1283:List of compositions
809:Les Arts Florissants
606:Sir Neville Marriner
539:Ensemble, and notes
387:Ann Turner Robinson
233:John Frederick Lampe
2531:British citizenship
2484:Händel-Gesellschaft
2208:Oboe Concerto No. 2
2203:Oboe Concerto No. 1
2198:Oboe Concerto No. 3
1868:Occasional Oratorio
1649:Lascia ch'io pianga
1183:16 May 2008 at the
1039:for details of this
992:on 29 December 2016
876:Christopher Hogwood
741:Audio CD: DG Archiv
733:The English Concert
658:Audio CD: DG Archiv
647:John Eliot Gardiner
534:Damon, Polyphemus)
523:
420:Francesca Bertolli
309:
198:Performance history
128:Composition history
2061:Latin church music
2051:Un'alma innamorata
2016:Del bell'idolo mio
1995:Aure soavi e lieti
1173:Grove Music Online
1107:. Handel Institute
1080:Acisandgalatea.org
1076:"Acis and Galatea"
982:"Acis and Galatea"
933:Harry Christophers
890:Blu-ray: Opus Arte
691:The King's Consort
679:Rogers Covey-Crump
516:
506:sopranino recorder
494:
375:Antonio Montagnana
305:
300:
164:which is based on
138:
36:
2632:Works by John Gay
2614:
2613:
2546:Handel at Cannons
2217:Orchestral suites
2167:Dettingen Te Deum
2100:As Pants the Hart
1956:Alexander's Feast
1603:Alessandro Severo
1540:Parnasso in festa
986:handelhendrix.org
945:
944:
888:Cat. No. OA 1025D
861:Danielle de Niese
711:Jamie MacDougall,
703:Cat: CDA 66361/2
669:John Mark Ainsley
437:
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2524:Related articles
2181:Chandos Jubilate
2107:Zadok the Priest
1934:Odes and masques
1875:Judas Maccabaeus
1680:Incidental music
1533:Arianna in Creta
1484:Lotario (Handel)
1379:Acis and Galatea
1372:Amadigi di Gaula
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1219:: Scores at the
1215:Acis and Galatea
1196:Acis and Galatea
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1137:on 27 March 2016
1133:. Archived from
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988:. Archived from
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951:Acis and Galatea
907:Benjamin Hulett,
858:Charles Workman,
825:Nicholas Mulroy,
805:William Christie
797:Patricia Petibon
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596:Philip Langridge
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519:Acis and Galatea
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468:, a semi-divine
446:Acis and Galatea
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63:, a pastoral or
40:Acis and Galatea
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2128:Chandos Anthems
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1825:Scratch Messiah
1777:Israel in Egypt
1742:Brockes Passion
1735:La resurrezione
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1185:Wayback Machine
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2023:Apollo e Dafne
2019:
2012:
2005:
1998:
1991:
1984:
1976:
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1641:Opera excerpts
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1351:Il pastor fido
1347:
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1328:
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1280:
1278:List of operas
1274:
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1234:
1233:
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1204:
1203:External links
1201:
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1199:
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1178:grovemusic.com
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1022:978-0199737369
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949:Recordings of
943:
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900:Allan Clayton,
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886:DVD: Opus Arte
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834:Matthew Brook
828:Susan Hamilton
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792:Sophie Daneman
784:
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767:Gerard Schwarz
764:
761:Glenn Siebert,
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729:Trevor Pinnock
726:
724:John Tomlinson
719:Markus Schäfer
714:Barbara Bonney
709:
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632:Norma Burrowes
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601:Benjamin Luxon
583:
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563:Owen Brannigan
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291:
288:
237:Little Theatre
199:
196:
184:Alexander Pope
129:
126:
65:pastoral opera
15:
9:
6:
4:
3:
2:
2679:
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2122:
2121:Sing Unto God
2118:
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2109:
2108:
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2097:
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2068:Dixit Dominus
2066:
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2059:
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2048:
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2037:Ero e Leandro
2034:
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2025:
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2020:
2018:
2017:
2013:
2011:
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1393:Muzio Scevola
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850:Cat: CKD 319
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171:Metamorphoses
167:
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148:(the seat of
147:
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118:
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111:Henry Purcell
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94:Stanley Sadie
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2561:Georg Händel
2551:Handel House
2450:
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2436:
2429:
2179:
2172:
2165:
2158:
2140:
2133:
2126:
2119:
2112:
2105:
2098:
2083:Salve Regina
2078:Nisi Dominus
2049:
2042:
2035:
2028:
2021:
2014:
2007:
2000:
1993:
1986:
1979:
1961:
1954:
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1740:
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1727:
1726: /
1723:
1722: /
1719:
1700:
1693:
1686:
1656:Ombra mai fu
1629:
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1337:
1330:
1323:
1316:
1308:
1302:
1214:
1195:
1171:
1151:
1139:. Retrieved
1135:the original
1130:
1121:
1109:. Retrieved
1104:
1095:
1083:. Retrieved
1079:
1070:
1058:. Retrieved
1054:
1049:Butt, John.
1044:
1031:
1012:
1006:
994:. Retrieved
990:the original
985:
950:
946:
927:Mark Dobell,
923:Jeremy Budd,
909:Neal Davies
871:Matthew Rose
773:and Chorale
763:Jan Opalach
757:Dawn Kotoski
752:David Gordon
736:
693:
660:Cat: 423406
653:
568:Adrian Boult
518:
495:
456:
445:
443:
301:
276:
266:
260:
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211:
207:
202:
201:
191:
174:, xiii (see
169:
141:
139:
116:
115:
97:
89:
88:
81:
67:, a "little
39:
38:
37:
25:
2652:1732 operas
2647:1718 operas
2262:Fitzwilliam
2224:Water Music
1818:Der Messias
1111:28 December
996:28 December
937:The Sixteen
892:OA BD7056D
801:Alan Ewing
687:Robert King
637:Martyn Hill
586:Robert Tear
551:Peter Pears
521:discography
398:Mrs. Davis
316:Voice type
229:Thomas Arne
188:John Dryden
180:John Hughes
2667:Polyphemus
2621:Categories
1861:Belshazzar
1449:Alessandro
1400:Floridante
958:References
903:Lucy Crowe
866:Paul Agnew
813:Audio CD:
787:Paul Agnew
735:and Choir
698:Audio CD:
591:Jill Gomez
537:Conductor,
512:Recordings
502:recitative
498:Polyphemus
365:Polyphemus
2505:Göttingen
2498:Festivals
2431:Germanico
2152:Canticles
1797:Structure
1712:Oratorios
1596:Faramondo
1554:Ariodante
1491:Partenope
1435:Rodelinda
1428:Tamerlano
1386:Radamisto
1332:Agrippina
1230:Mozarteum
1131:Naxos.com
838:John Butt
474:siciliana
458:Shepherds
241:Haymarket
208:jet d'eau
2585:Category
1973:Cantatas
1910:Theodora
1854:Hercules
1812:Part III
1631:Deidamia
1589:Berenice
1582:Giustino
1568:Atalanta
1442:Scipione
1304:Florindo
1217:(Handel)
1181:Archived
947:Source:
700:Hyperion
577:/London
478:serenade
440:Synopsis
414:Dorinda
395:soprano
392:Eurilla
384:soprano
357:Senesino
351:castrato
253:serenata
162:John Gay
77:oratorio
57:serenata
53:John Gay
2596:Commons
2249:sonatas
2247:XV solo
2092:Anthems
1924:Jephtha
1903:Solomon
1896:Susanna
1807:Part II
1791:Messiah
1763:Athalia
1756:Deborah
1702:Alceste
1575:Arminio
1526:Orlando
1512:Sosarme
1477:Tolomeo
1339:Rinaldo
1325:Rodrigo
1228:at the
1165:Sources
1141:18 June
1085:18 June
1060:18 June
476:-style
466:Galatea
425:Silvio
381:Cloris
331:soprano
326:Galatea
258:cantata
239:in the
235:at the
146:Cannons
2657:Operas
2515:London
2445:Gideon
2073:Gloria
1882:Joshua
1840:Semele
1833:Samson
1802:Part I
1749:Esther
1624:Imeneo
1561:Alcina
1547:Oreste
1519:Catone
1456:Admeto
1414:Flavio
1407:Ottone
1318:Almira
1310:Daphne
1292:Operas
1019:
542:Label
462:nymphs
444:Since
403:Filli
75:as an
61:masque
2606:Audio
2510:Halle
2438:Nabal
2423:Other
2239:Flute
1695:Comus
1610:Serse
1470:Siroe
1365:Silla
1358:Teseo
963:Notes
920:2019
897:2018
855:2009
822:2008
815:Erato
783:1999
748:1992
708:1992
665:1990
621:1978
615:Decca
582:1978
575:Decca
547:1959
530:Cast
527:Year
484:Act 2
470:nymph
453:Act 1
429:tenor
417:alto
406:alto
313:Role
290:Roles
69:opera
2541:Will
2392:Opus
2328:367b
2323:367a
2308:364b
2303:364a
2298:363b
2293:363a
2273:359b
2268:359a
2245:and
2243:solo
1770:Saul
1505:Ezio
1498:Poro
1143:2014
1113:2016
1087:2014
1062:2014
1017:ISBN
998:2016
460:and
370:bass
348:alto
343:Acis
231:and
166:Ovid
156:and
109:and
59:, a
2383:379
2378:378
2373:376
2368:375
2363:374
2358:373
2353:372
2348:371
2343:370
2338:369
2333:368
2318:366
2313:365
2288:362
2283:361
2278:360
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