Handel

 
 
 
 
During his career, Handel composed more than forty operas. Most of these operas show elements of Baroque music, such as the use of dance rhythms and elaborate melodic lines. Although he was born in Germany and lived most of his life in England, Handel's operas often follow the conventions of the Italian opera seria. Perhaps Handel's greatest contribution to the field of opera was his ability to convey emotions through melody. In this regard, he often used the opera seria convention of the da capo aria form to great effect.

George Frideric Handel was born in Halle, Germany, in 1685. His first two operas, Almira and Nero, were produced in Hamburg when he was less than twenty years old. In 1706, Handel traveled to Rome, where he learned about the Italian style of composing operas. During a visit to England in 1711, Handel produced an opera entitled Rinaldo which won him over with the English public. In 1712, the offer of a lifetime pension by Queen Anne caused Handel to move permanently to the city of London. As director for the Royal Academy of Music, Handel composed a vast number of works in the opera seria style. In 1728, with the introduction of The Beggar's Opera by John Gay, English tastes in opera began to change. In contrast to the opera seria, Gay's opera was sung in English and dealt with everyday themes (Wolff 150). Despite the popularity of this and other operas like it, Handel continued to write in the opera seria style. The repeated failure of his l


     
 
 
 
    

 

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tionally complex character and Handel makes effective use of da capo aria in order to convey this quality. The da capo aria is based on an A-B-A form. In the aria "Ah! Mio Cor!," Handel uses this form in order to show the split emotions that Alcina is experiencing over the loss of her lover, Ruggiero. In the first section of the aria, Alcina sings in a slow, sad tone: "Oh, my heart, you are scorned!" In the second section, she switches to a feeling of anger as she accuses Ruggiero of being a "traitor." Finally, in the third section, the emotions of the music return Alcina to the feelings of sadness that were expressed in the first section. In this way, the indecisiveness of Alcina's feelings for Ruggiero are dramatically conveyed (Dean 45). The sense of emotion in this aria is further emphasized by the use of ritornellos, or brief instrumental passages. For example, at the end of the first section, Handel inserts a passionate musical theme "that seems to reveal emotions too deep for words" (Dean 46). This represents Alcina's transition from sadness to anger as it gradually occurs to her that Ruggiero has scorned her. In contrast, the end of the second part moves directly into the repetition of the first part, without

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