When did Handel move to England?
25665005#2
Handel settled in England in 1712, but appears not to have maintained his own household in London until 1723. He attracted the patronage of noblemen such as Richard Boyle, 3rd Earl of Burlington, and he was based at Burlington House before becoming Cannons' resident composer from 1717 to 1718. It has been suggested that the move to Cannons was related to the fact that in 1717 there was reduced demand for his services in central London because operatic productions were experiencing a temporary downturn. At the end of Handel's stay at Cannons, the Duke and his friends helped him establish a new opera company in London, the so-called Royal Academy of Music.
Handel at Cannons
149131#1
Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; "Messiah" was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in heaven.
Messiah (Handel)
382160#5
This sudden recognition led to eager competition for Handel's services. Among those most keen to employ him was Prince Georg Ludwig, the Elector of Hanover and future King George I of Great Britain. In June 1710 Handel accepted the appointment of Kapellmeister to Georg's Hanover court, under terms that gave him considerable scope to pursue his own interests. On the basis of this freedom, in late 1710 Handel left Hanover for London, possibly in response to an earlier invitation from members of the English nobility. By 1711, informed London audiences had become familiar with the nature of Italian opera through the numerous pastiches and adaptations that had been staged. The former Royal Academy of Music Principal, Curtis Price, writes that the popularity of these pieces was the result of a deliberate strategy aimed at the suppression of English opera. Handel's music was relatively unknown in England, though his reputation from "Agrippina" was considerable elsewhere. A short "Italian Dialogue" he had written in honour of Queen Anne's birthday was well received when performed at St James's Palace on 6 February 1711.
Rinaldo (opera)
7664807#3
Handel brought Durastanti back to England for his 1733–34 season, when she sang in revivals of "Ottone" and "Il pastor fido", as well as several "pasticcios". By this time she was probably in her fifties, and had been singing professionally for over thirty years. It is testimony to her enduring abilities that an aristocratic opera-lover of the time, Lady Bristol, was moved to comment:
Margherita Durastanti
51713963#2
In February 1727, a petition was presented to the House of Lords to grant Handel the status of a British subject as this was the only method available to do so. In order for the petition to be valid before it could be considered, Handel was obliged to provide evidence that he had taken the Oath of Supremacy and the Oath of Allegiance as well as entering into communion with the Church of England. The petition was accepted and brought before Parliament as a private bill and added to a bill for naturalising Louis Sekeyhaye and others. Prior to Second Reading, Handel took the oaths in the presence of the House of Lords. The certificate that he had accepted communion with the Church of England was also presented, though it was suggested that Handel accepted just to conform with the law and maintained elements of his Lutheranism while praising the Church of England for affording him protection under which he would not "suffer any molestation or inconvenience on account of his religious principles." The bill passed through parliament and was granted Royal Assent by the King with the Norman French phrase "" (Let it be done as it is desired).
Handel's Naturalisation Act 1727
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Handel had presented new operas in London for years with great success. One of the major attractions in Handel's operas was the star "castrato" Senesino, whose relationship with the composer was often stormy and who eventually left Handel's company to appear with the rival Opera of the Nobility, set up in 1733. Handel moved to a different theatre, Covent Garden, and engaged different singers, but there were neither sufficient audience for opera in London nor aristocratic supporters to back two opera houses at once, and both opera companies found themselves in difficulty. None of Handel's three new operas in the 1736-37 season repeated the success of his earlier works, and he suffered a breakdown in his health, as reported by his friend Lord Shaftesbury:
"Great fatigue and disappointment, affected him so much, that he was this Spring struck with the Palsy, which took entirely away, the use of 4 fingers of his right hand; and totally disabled him from Playing: And when the heats of the Summer 1737 came on, the Disorder seemed at times to affect his Understanding."
Berenice (opera)
12775#9
Mainwaring has Handel traveling to Berlin the next year, 1698. The problem with Mainwaring as an authority for this date, however, is that he tells of how Handel's father communicated with the "king" during Handel's stay, declining the Court's offer to send Handel to Italy on a stipend and that his father died "after his return from Berlin." But since Georg Händel died in 1697, either the date of the trip or Mainwaring's statements about Handel's father must be in error. Early biographers solved the problem by making the year of the trip 1696, then noting that at the age of 11 Handel would need a guardian, so they have Handel's father or a friend of the family accompany him, all the while puzzling over why the elder Handel, who wanted Handel to become a lawyer, would spend the sum to lead his son further into the temptation of music as a career. Schoelcher for example has Handel traveling to Berlin at 11, meeting both Bononcini and Attilio Ariosti in Berlin and then returning at the direction of his father. But Ariosti was not in Berlin before the death of Handel's father, and Handel could not have met Bononcini in Berlin before 1702. Modern biographers either accept the year as 1698, since most reliable older authorities agree with it, and discount what Mainwaring says about what took place during the trip or assume that Mainwaring conflated two or more visits to Berlin, as he did with Handel's later trips to Venice.
George Frideric Handel
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In 1733, a second opera company, The Opera of the Nobility was set up to rival Handel's, employing several of Handel's former star singers including the celebrated castrato Senesino. Handel's lease on the King's Theatre in the Haymarket expired at the end of the 1733 - 34 season, and the Opera of the Nobility moved into what had been Handel's artistic home for years. In addition to Senesino, the rival opera company had also hired the renowned castrato Farinelli, who created a sensation. These were considered serious setbacks for Handel as the French author Antoine François Prévost wrote in 1734:He has so suffered great losses and written so many wonderful operas, which proved to be utter failures, that he will be forced to leave London and return to his home country but, undeterred, Handel moved into a new theatre, the Theatre Royal Covent Garden, built by John Rich largely on the proceeds of the extremely successful "The Beggar's Opera" which had parodied Italian opera of the kind Handel supplied for London. Rich had equipped his new theatre with the latest technology in stage machinery and also employed a troupe of dancers, which had not been the case at the King's Theatre in the Haymarket. Handel opened his first season at Covent Garden with a re-working of his earlier "Il Pastor Fido" with an entirely new prologue, "Terpsichore", featuring the internationally famous French dancer Marie Sallé. The pasticcio "Oreste", which followed, also features dances unlike the operas Handel had previously composed for London.
Oreste
12775#1
Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Dean writes that his operas show that "Handel was not only a great composer; he was a dramatic genius of the first order." As "Alexander's Feast" (1736) was well received, Handel made a transition to English choral works. After his success with "Messiah" (1742) he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759, a respected and rich man. His funeral was given full state honours, and he was buried in Westminster Abbey in London.
George Frideric Handel
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Handel went on to dominate opera in England for several decades. "Rinaldo" was revived in London regularly up to 1717, and in a revised version in 1731; of all Handel's operas, "Rinaldo" was the most frequently performed during his lifetime. After 1731, however, the opera was not staged for more than 200 years. Renewed interest in baroque opera during the 20th century led to the first modern professional production in Handel's birthplace, Halle, Germany, in 1954. The opera was mounted sporadically over the following thirty years; after a successful run at New York's Metropolitan Opera in 1984, performances and recordings of the work have become more frequent worldwide. "Rinaldo" was the first Handel Opera to have found its way to the Metropolitan. The opera's tercentenary in 2011 brought a modernized production at the Glyndebourne Festival.
Rinaldo (opera)