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to the desperate
Seleuce in the remotest part of the wood and promises to reunite her with Tolomeo. Araspe triumphantly reveals the body of Tolomeo to Alessandro. He is sure that Seleuce is his but Elisa reveals the potion was actually a sleeping draught and she will torture Seleuce and put her to death. At this point Tolomeo wakes up and Alessandro presents Seleuce to him. Husband and wife are reunited and Alessandro declares Tolomeo as Egypt's rightful ruler. The opera ends with a joyous
345:
Tolomeo (going under the name of Osmin to protect himself from the wrath of King Araspe, an ally of
Cleopatra) hides, and Elisa, sister of the king, turns up. Alessandro wakes, thinks she is like a goddess, and declares his love for her. She, however, loves "Osmin." She is very flirtatious. But as she and "Osmin" talk, it becomes clear that her feelings are not requited, that Tolomeo loves another (Seleuce, his wife, who he thinks is lost). Alone, he considers taking his own life.
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background. Araspe bursts onto the scene and tries to rape
Seleuce. Tolomeo can't bear the sight and rushes to defend his wife. He reveals their true identities, and Araspe sings ruggedly of how he will punish the lovers. The couple are left alone at the end of act two and touchingly sing synchronised for the first time of how their love for one another will doom them both.
361:. Elisa tells the resentful Araspe to bring "Delia" before them. This is done and Tolomeo rapturously declares his love to Seleuce. She, in order to protect Tolomeo, pretends she doesn't know what he is talking about, while in typical operatic fashion voicing her inner thoughts in parentheses; how this deception is painful to her and she longs for her husband.
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had appeared in continental
European countries in operas together without incident, but in London they developed rival groups of fans that interrupted the performances with rowdy displays of partisanship for one lady or another. This came to a climax on 6 June 1727 during a performance at the King's
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of an organisation called the Royal
Academy of Music (unconnected with the present day London conservatoire), a company under royal charter to produce Italian operas in London. Handel was not only to compose operas for the company but hire the star singers, supervise the orchestra and musicians, and
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Elisa forces
Seleuce to cede Tolomeo to her, saying he'll die otherwise. Tolomeo rejects Elisa once more. She says if he is so brave and intent on rejecting her, then he should drink some poison. This he does. He describes the effect the poison is having, and then, apparently, dies. Alessandro comes
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Alessandro has a letter positing the death of
Cleopatra. He says she has paid the price for her cruelty. Somehow Araspe interprets Alessandro saying he wants to go home to Egypt with Tolomeo as meaning he wants his brother slain, but wants someone else to do it. Araspe, of course, thinks himself the
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Handel continued to supply operas for the trio of star singers, Senesino, Cuzzoni and
Faustina (as she was known) however, even though these singers received astronomical fees, much more than he received for composing the works, which combined with declining audience numbers caused at least in part
433:
Handel had composed numerous
Italian operas for the Academy, with varying degrees of success; some were enormously popular. The castrato Senesino and the soprano Francesca Cuzzoni had appeared in a succession of Handel operas for the Academy (he was not the only composer who composed operas for the
447:
with both singers onstage and royalty in the audience. Fist fights and disorder between rival groups of fans broke out in the audience and the two sopranos exchanged insults and came to blows onstage. The rest of the opera was cut, the performers going straight to the short final chorus, and the
348:
We are then introduced to
Seleuce who is also going under an alias, "Delia." She sings of her dispossession, then sees Tolomeo on the shore, but she runs away when Araspe arrives. Araspe is furious at Seleuce, whom he pursues with amorous intent. Act One closes with Tolomeo visualising his wife,
344:
The action opens with Tolomeo on the beach of Cyprus, where he meets his shipwrecked brother, Alessandro. Alessandro has come under orders from Cleopatra to kill his own flesh and blood. Tolomeo becomes aware of Alessandro's identity and is tempted to kill him, but can't bring himself to do so.
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Tolomeo reiterates that he cannot love Elisa and she rages at this. Tolomeo leaves and Alessandro enters, reiterating his love for Elisa. Elisa claims that the only way she can love him in return is if he murders his brother. Seleuce sings another lament and Tolomeo echoes her words in the
467:, the theatrical impresario who held the lease on the King's Theatre in the Haymarket where the operas were presented, and Handel set out to Italy to find singers for his 1729 season, Cuzzoni, Senesino and Faustina having all left London for engagements on the continent of Europe.
478:, wrote in a letter (the original is in Italian) that Handel said that Strada "sings better than the two who have left us, because one of them (Faustina) never pleased him at all and he would like to forget the other (Cuzzoni).
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The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London. Therein, in 1711, Handel composed the first opera specifically-written for the London stage,
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company) most of which had been successful with audiences, and in 1726 the directors of the Academy brought over another internationally renowned singer, Faustina Bordoni, to add to the company's attractions. The two
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on 30 April 1728 and received seven performances. It was revived with revisions on 19 May 1730 and 2 January 1733, a mark of the work's popularity. The first production of modern times was conducted by
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scandal was gleefully repeated in the newspapers, in satirical skits on other stages, and in mock-heroic verse, bringing the entire form of Italian opera into a certain amount of disrepute in London.
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and was also the last of the operas he composed for the triumvirate of internationally renowned singers, the castrato Senesino and the sopranos Francesca Cuzzoni and Faustina Bordoni.
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by the ridicule brought upon Italian opera by the rival sopranos' public spat, was causing severe financial difficulty for the Royal Academy of Music.
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Robert Hugill, "Simple But Effective", review of the production on Music & Vision (mvdaily.com), 20 May 2006
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Tolomeo loses his temper and declares to Elisa that he is not "Osmin" but is indeed the deposed joint ruler of
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After the 1728 season closed, the Royal Academy of Music was dissolved, but Handel went into partnership with
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went unperformed for many years, but with the revival of interest in Baroque music and
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The story of the opera is a fictionalisation of some events in the life of
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The second of the two volume definitive reference on the operas of Handel
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From Alessandro (1726) to Tolomeo (1728): the final Royal Academy operas
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very man for the job and delights in avenging the jealousy he feels.
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expounding that when suffering turns into joy, all can be forgiven.
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Dean, W. & J.M. Knapp (1995) Handel's operas 1704-1726, p. 298.
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738:"Directorial excess sabotages "Tolomeo" premiere at Glimmerglass"
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485:", with an English text as "Silent Worship", is featured in the
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English Touring Opera's website with details of the production
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wishing that she could appear before him and ease his pain.
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The aria for Alessandro in the opera, No.3 in the score, ''
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328:, who was deposed by his mother and joint ruler of Egypt
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Caricature of Senesino, who created the role of Tolomeo
805:
Essays on Handel and Italian opera by Reinhard Strohm
101:(1863–1937) as the popular English-language classic "
474:, for his 1729 season. One of Handel's librettists,
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Agrippina condotta a morire or Dunque sarĂ pur vero
377:Francesca Cuzzoni, who created the role of Seleuce
133:on 19 June 1938. As with all Baroque opera seria,
421:intensified in London the enthusiasm for Italian
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430:adapt operas from Italy for London performance.
455:Faustina Bordoni, who created the role of Elisa
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842:The Gilded Stage: A Social History of Opera
639:
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1030:International Music Score Library Project
139:historically informed musical performance
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1583:L'Allegro, il Penseroso ed il Moderato
935:Jane's Hand: The Jane Austen Songbooks
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324:The action takes place at the time of
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1519:Il trionfo del Tempo e del Disinganno
1038:
1001:, MPhil dissertation, Cambridge, 2000
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183:Roles, voice types, and premiere cast
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976:
756:
670:"Handel:A Biographical Introduction"
2257:Keyboard suite in D minor (HWV 437)
1523:Il trionfo del Tempo e della VeritĂ
1010:, PhD dissertation, Cambridge, 2006
79:is counted) and last opera for the
13:
1748:Ode for the Birthday of Queen Anne
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402:The King's Theatre, London, where
14:
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1913:Funeral Anthem for Queen Caroline
1014:
802:Strohm, Reinhard (20 June 1985).
332:in favour of his younger brother
2426:Operas by George Frideric Handel
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2389:
2379:
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1934:Wedding anthem for Princess Anne
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470:Handel found a new prima donna,
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16:Opera by Georg Friedrich Händel
2355:Handel & Hendrix in London
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1:
2028:Music for the Royal Fireworks
1527:The Triumph of Time and Truth
645:"G. F. Handel's Compositions"
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81:Royal Academy of Music (1719)
1959:Utrecht Te Deum and Jubilate
1843:Tra le fiamme (Il consiglio)
1098:Handel's lost Hamburg operas
918:: Non-soundtrack Music Notes
506:(cello, lute, harpsichord).
218:Francesco Bernardi, called "
195:Premiere Cast, 30 April 1728
7:
995:Ograjenšek, Suzana (2000),
566:Manhattan Chamber Orchestra
300:
116:was first performed at the
45:("Ptolemy, King of Egypt",
10:
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1004:Ograjenšek, Suzana (2006),
979:Handel's Operas, 1726-1741
726:Retrieved 1 September 2010
714:Retrieved 1 September 2010
18:
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2273:Handel Reference Database
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2251:The Harmonious Blacksmith
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2190:
2036:
2015:
1989:
1950:
1941:Foundling Hospital Anthem
1890:
1859:
1829:O lucenti, o sereni occhi
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1762:Ode For St. Cecilia's Day
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406:had its first performance
2288:Hallische Händel-Ausgabe
2278:Händel-Werke-Verzeichnis
2266:Catalogs and collections
840:Snowman, Daniel (2010).
417:. A tremendous success,
368:
352:
339:
168:
21:Tolomeo (disambiguation)
1787:Allor ch'io dissi addio
1741:Aci, Galatea e Polifemo
1646:Joseph and his Brethren
949:"Recordings of Tolomeo"
694:Cover view of recording
93:An aria from the opera,
67:Carlo Sigismondo Capece
2213:Concerti grossi, Op. 6
2208:Concerti grossi, Op. 3
2203:Organ concertos, Op. 7
2198:Organ concertos, Op. 4
1973:Queen Caroline Te Deum
1716:The Choice of Hercules
1066:George Frideric Handel
744:. The Classical Review
742:Theclassicalreview.com
483:Non lo dirò col labbro
456:
407:
378:
334:Ptolemy X (Alessandro)
310:
178:
95:Non lo dirò col labbro
55:George Frideric Handel
37:
1801:Clori, Tirsi e Fileno
977:Dean, Winton (2006),
454:
401:
376:
308:
293:Giuseppe Maria Boschi
206:former ruler of Egypt
176:
159:English Touring Opera
149:was performed at the
71:Tolomeo et Alessandro
63:Nicola Francesco Haym
31:
2441:Operas set in Cyprus
2335:Letters and writings
1808:Dalla guerra amorosa
1469:Va tacito e nascosto
1462:Svegliatevi nel core
1082:List of compositions
610:Il Complesso Barocco
562:Richard Auldon Clark
487:1996 film adaptation
465:John James Heidegger
394:Context and analysis
326:Ptolemy IX (Tolomeo)
320:Time: around 108 BC,
42:Tolomeo, re d'Egitto
19:For other uses, see
2330:British citizenship
2283:Händel-Gesellschaft
2007:Oboe Concerto No. 2
2002:Oboe Concerto No. 1
1997:Oboe Concerto No. 3
1667:Occasional Oratorio
1448:Lascia ch'io pianga
899:from the 1996 film
521:
185:
109:Performance history
88:Ptolemy IX Lathyros
1860:Latin church music
1850:Un'alma innamorata
1815:Del bell'idolo mio
1794:Aure soavi e lieti
895:2010-10-31 at the
844:. Atlantic Books.
699:2010-11-23 at the
532:Elisa, Alessandro,
530:Tolomeo, Seleuce,
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445:Giovanni Bononcini
408:
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269:brother of Tolomeo
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163:Glimmerglass Opera
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2345:Handel at Cannons
2016:Orchestral suites
1966:Dettingen Te Deum
1899:As Pants the Hart
1755:Alexander's Feast
1402:Alessandro Severo
1339:Parnasso in festa
981:, Boydell Press,
870:handelhendrix.org
773:handelhendrix.org
620:
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242:Francesca Cuzzoni
97:, was adapted by
90:, king of Egypt.
53:in three acts by
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2323:Related articles
1980:Chandos Jubilate
1906:Zadok the Priest
1733:Odes and masques
1674:Judas Maccabaeus
1479:Incidental music
1332:Arianna in Creta
1283:Lotario (Handel)
1178:Acis and Galatea
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1150:Il pastor fido
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1077:List of operas
1073:
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550:Jennifer Lane,
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1920:Sing Unto God
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1867:Dixit Dominus
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1620:(Mozart arr.)
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614:CD:DG Archiv,
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2350:Handel House
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1978:
1971:
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1882:Salve Regina
1877:Nisi Dominus
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1455:Ombra mai fu
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956:. Retrieved
953:Operadis.org
952:
943:
938:(CD and MP3)
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873:. Retrieved
869:
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835:
827:Google Books
825:– via
819:. Retrieved
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776:. Retrieved
772:
746:. Retrieved
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673:
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652:. Retrieved
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596:Romina Basso
516:
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436:prima donnas
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384:
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231:
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157:in 1996, by
146:
142:
134:
113:
112:
94:
92:
85:
74:
70:
41:
40:
39:
33:
25:
2431:1728 operas
2061:Fitzwilliam
2023:Water Music
1617:Der Messias
924:adaptations
875:29 December
778:29 December
679:28 December
654:29 December
606:Alan Curtis
572:Cat:3 7530
519:discography
491:Jane Austen
476:Paolo Rolli
472:Anna Strada
439:Theatre of
423:opera seria
192:Voice type
105:" in 1928.
51:opera seria
2420:Categories
1660:Belshazzar
1248:Alessandro
1199:Floridante
821:2 February
623:References
539:orchestra
537:Conductor,
510:Recordings
441:Astianatte
309:Ptolemy IX
265:Alessandro
49:25) is an
2304:Göttingen
2297:Festivals
2230:Germanico
1951:Canticles
1596:Structure
1511:Oratorios
1395:Faramondo
1353:Ariodante
1290:Partenope
1234:Rodelinda
1227:Tamerlano
1185:Radamisto
1131:Agrippina
866:"Lotario"
769:"Tolomeo"
493:'s novel
165:in 2010.
131:Göttingen
2384:Category
1772:Cantatas
1709:Theodora
1653:Hercules
1611:Part III
1430:Deidamia
1388:Berenice
1381:Giustino
1367:Atalanta
1241:Scipione
1103:Florindo
893:Archived
697:Archived
504:continuo
301:Synopsis
281:Araspe,
254:soprano
220:Senesino
214:castrato
61:text by
2395:Commons
2048:sonatas
2046:XV solo
1891:Anthems
1723:Jephtha
1702:Solomon
1695:Susanna
1606:Part II
1590:Messiah
1562:Athalia
1555:Deborah
1501:Alceste
1374:Arminio
1325:Orlando
1311:Sosarme
1276:Tolomeo
1138:Rinaldo
1124:Rodrigo
1026:Tolomeo
971:Sources
958:30 June
905:(audio)
748:30 June
534:Araspe
517:Tolomeo
419:Rinaldo
414:Rinaldo
404:Tolomeo
388:quartet
314:Place:
248:Elisa,
237:soprano
228:Seleuce
202:Tolomeo
147:Tolomeo
143:Tolomeo
135:Tolomeo
114:Tolomeo
59:Italian
34:Tolomeo
2436:Operas
2314:London
2244:Gideon
1872:Gloria
1681:Joshua
1639:Semele
1632:Samson
1601:Part I
1548:Esther
1423:Imeneo
1360:Alcina
1346:Oreste
1318:Catone
1255:Admeto
1213:Flavio
1206:Ottone
1117:Almira
1109:Daphne
1091:Operas
985:
848:
812:
570:CD:Vox
542:Label
316:Cyprus
122:London
57:to an
36:, 1728
2405:Audio
2309:Halle
2237:Nabal
2222:Other
2038:Flute
1494:Comus
1409:Serse
1269:Siroe
1164:Silla
1157:Teseo
628:Notes
528:Cast:
525:Year
369:Act 3
359:Egypt
353:Act 2
340:Act 1
189:Role
169:Roles
155:Halle
2340:Will
2191:Opus
2127:367b
2122:367a
2107:364b
2102:364a
2097:363b
2092:363a
2072:359b
2067:359a
2044:and
2042:solo
1569:Saul
1304:Ezio
1297:Poro
983:ISBN
960:2014
922:Emma
916:Emma
902:Emma
877:2016
846:ISBN
823:2013
810:ISBN
780:2016
750:2014
681:2016
656:2016
577:2006
547:1995
496:Emma
288:bass
211:alto
2182:379
2177:378
2172:376
2167:375
2162:374
2157:373
2152:372
2147:371
2142:370
2137:369
2132:368
2117:366
2112:365
2087:362
2082:361
2077:360
2055:358
489:of
443:by
153:in
129:at
69:'s
47:HWV
2422::
2040:,
1106:,
951:.
868:.
808:.
771:.
758:^
740:.
672:.
647:.
636:^
267:,
230:,
222:"
204:,
120:,
2063:"
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1471:"
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1460:"
1457:"
1453:"
1450:"
1446:"
1112:)
1100:(
1058:e
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962:.
879:.
854:.
829:.
782:.
752:.
683:.
658:.
598:,
593:,
588:,
583:,
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
