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Handel's operas

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Journal Article
Eighteenth-Century Life (2022) 46 (3): 52–82.
Published: 01 September 2022
...Robert D. Hume Little scholarly attention has been devoted to the dramaturgy of Handel's operas, which seems secondary to musical and circumstantial matters of venue and performers. This article argues that important things can be learned by attempting to categorize, analyze, and assess...
Journal Article
Eighteenth-Century Life (2022) 46 (3): 83–100.
Published: 01 September 2022
... between. True, in his ballad operas from that period, he borrowed a number of the composer's melodies, but in multiple instances, he attached comic lyrics that mocked their seriousness. This paper contends that Fielding's apparent change in attitude in the 1740s was rooted in Handel's own change as he...
Journal Article
Eighteenth-Century Life (2010) 34 (2): 65–82.
Published: 01 April 2010
...William Gibbons The magician Zoroastro plays a critical role in Handel's opera Orlando (1733). He opens the first act with a dramatic monologue, keeps the hero Orlando from wreaking too much havoc in his madness, and eventually brings the opera to a peaceful conclusion. Despite his importance...
Journal Article
Eighteenth-Century Life (2001) 25 (2): 19–31.
Published: 01 April 2001
... What was the artistic climate that year? In the spring the opera com- pany was having its most profitable season (the only one in which it de- clared a dividend), with three new operasHandel’s Floridante, and Griselda and Crispo by composer Giovanni Bononcini...
Journal Article
Eighteenth-Century Life (2017) 41 (3): 20–56.
Published: 01 September 2017
... and Italian operas in the era of Handel, including a flock of Handel’s own efforts. No one would deny that some overt allegories can be found, as for example in Dryden’s Albion and Albanius (1685). It is an emblematic account of the restoration of King Charles II and a triumphant celebration of his...
Journal Article
Eighteenth-Century Life (2019) 43 (3): 101–114.
Published: 01 September 2019
... for the claim that the opera company spent £3,000 new dressing the production of Handel s opera. I suppose that such a sum might have been fatuously claimed by someone hostile to opera, but for an opera company known to be at the verge of insolvency, it is absurd.10 By the multiplier McGirr employs...
Journal Article
Eighteenth-Century Life (2018) 42 (2): 152–169.
Published: 01 April 2018
... account of the Š Commemoration of Handel to King George III – and Queen Charlotte ), which included engravings by his nephew Edward Francisco Burney ).19 Frances’s version of the conversation between her father and the king is bizarre: Charles had been authorized to write the o½cial...
Journal Article
Eighteenth-Century Life (2015) 39 (2): 66–70.
Published: 01 April 2015
..., theater, dance, opera, acting, gardening, and painting, and he is especially sensitive to the technical desiderata of contemporary musical composition, set- tings for poetry, interludes, and performance. This is a rare accomplishment for a literary commentator or cultural historian. One example...
Journal Article
Eighteenth-Century Life (2009) 33 (1): 37–43.
Published: 01 January 2009
... that Addison’s attempt to found a native British strain of opera, pro-Union and (albeit ambivalently) pro-Marlborough, in his 1707 libretto Rosamond, is a vital landmark here, and one might perceive Rosa- mond to be in dialogue with The British Enchanters (1706) by Pope’s dedicatee, Granville.5 Though...
Journal Article
Eighteenth-Century Life (2017) 41 (3): 89–95.
Published: 01 September 2017
... blows old interpretations out of the water: Bryan White’s indisputable redating of Nahum Tate and Henry Purcell’s opera Dido and Aeneas, which we now know was performed no later than the summer of 1688, invalidates all those readings that sought to see the opera as an allegory of the revolution...
Journal Article
Eighteenth-Century Life (2016) 40 (2): 36–65.
Published: 01 April 2016
...Amy Dunagin The first two sustained efforts to chronicle the history of English music were conducted independently during the 1710s and 1720s by Thomas Tudway and Roger North. They wrote in the context of the escalating popularity of Italian opera in England. Their histories also resonated...
Journal Article
Eighteenth-Century Life (2018) 42 (1): 84–101.
Published: 01 January 2018
... of the portraits with their extraordinary colors also contributed to the development of Hogarth’s aesthetics. Einberg’s great contribution is to the study of the portraits. She has exhaustively anno- tated them, drawing proper attention to the influence of Roubiliac’s Handel of 1738. I am left wondering how...
Journal Article
Eighteenth-Century Life (2025) 49 (1): 84–109.
Published: 01 January 2025
... of Fog's Weekly Journal (10 February 1733) printed in the London Magazine (February 1733). 17. See Thomas McGeary, The Politics of Opera in Handel's Britain (Cambridge: Cambridge Univ., 2013), 144. 18. On these points, I follow the prominent twentieth-century Paine scholar, A. Owen...
Journal Article
Eighteenth-Century Life (2016) 40 (3): 134–147.
Published: 01 September 2016
... Theatre in Haymarket as well as of Blenheim; and of the composer G. F. Handel, who composed a birthday ode in her honor (“Eternal Source of Light Divine”) and whose opera Rinaldo she previewed in Bath before its opening at Vanbrugh’s new theater. Indirectly, Anne became, through her minister...
Journal Article
Eighteenth-Century Life (2024) 48 (3): 82–100.
Published: 01 September 2024
..., these practices included gatherings in coffeehouses and assembly rooms, professional and amateur theater, music, and opera, Freemason lodges, literary and scientific societies, and what were later called “salons.” In all these forms of behavior, the contrast between light and darkness was enhanced...
FIGURES
Journal Article
Eighteenth-Century Life (2016) 40 (3): 36–67.
Published: 01 September 2016
...Keith Johnston Montesquieu's climatological theory of character played an important role in English musical criticism in the third quarter of the eighteenth century and helped form an intellectual basis for an English critique of Italian comic opera in the sentimental mode. Critics like Joseph...
Journal Article
Eighteenth-Century Life (2001) 25 (3): 103–113.
Published: 01 September 2001
...-521- 47743-3 Hatton, Ragnild. George I, new foreword by Jeremy Black. Yale English Monarchs (1978; New Haven & London: Yale Univ., 2001). Pp. 432. $22.50 paper. ISBN 0-300-08883-3 Havel, Václav. The Beggar’s Opera, trans. from the Czech...
Journal Article
Eighteenth-Century Life (2000) 24 (3): 112–126.
Published: 01 September 2000
... England Witch Trials (Chicago: Ivan R. Dee, 1999). Pp. xvi + 197. $24.95. ISBN 1- 56663-253-6 Charlton, David. French Opera 1730–1830: Meaning and Media (Aldershot & Brookfield, Vt.: Ashgate/Variorum, 2000...
Journal Article
Eighteenth-Century Life (2011) 35 (2): 39–75.
Published: 01 April 2011
..., in the spring 1732, at the Little (or New) Theater in the Haymarket, and then from the autumn of 1732 at the the- ater in Lincoln’s Inn Fields, Susannah was a lead singer in the English Opera Company, a company that, beginning as a profit-­sharing venture between her father, Henry Carey, and Johann Lampe...
Journal Article
Eighteenth-Century Life (2022) 46 (3): 30–51.
Published: 01 September 2022
... and Queen Charlotte, who played the harpsichord, sang, and attended concerts and the opera regularly, but whose most conspicuous role was as wife and mother. 24 While Papendiek shows herself to be an accomplished musician on the royal piano, she depicts herself as emphatically an amateur. That she...