Handel: Amadigi di Gaula
London Handel Festival
Opera Settecento, Leo Duarte
St George’s, Hanover Square. 24 March 2018
Amadigi di Gaula (HWV 11) is a rarely performed early opera by Handel, composed in 1715 while he was staying at Burlington House (pictured), the London home of the young Earl of Burlington, Richard Boyle. It is now, in altered form, the home of the Royal Academy. Boyle had inherited the house and adjoining estate aged 10. He was around 9 years younger than Handel and was to become an influential amateur architect in Georgian London, notably for Chiswick House. By 1715, he had already completed the first of his ‘Grand Tours’ and was fast becoming a major patron of the arts and music.
Amadigi di Gaula is a curious and complex tale, based on a late 14th-century Castillian chivalric fantasy romance that also inspired Don Quixote. The tale involves Princess Oriana (not to be confused with the hero of Felix the Cat), a fictional heiress to the throne of England (the ‘Fortunate Isles’) and her protector knight, the Scottish born Amadigi of Gaul, who is love with her, as is his companion Dardano, Prince of Thrace. The evil sorceress Melissa is infatuated with Amadigi. To this end, she imprisons Oriana in a tower and Amadigi and Dardano in a nearby garden. She tries various spells to attract Amadigi, who, initially together with Dardano, is trying to rescue Oriana. After a complex series of deceptions, betrayals, jealousy and sorcery, Amadigi and Oriana are finally united, but not before Amadigi has killed Dardano and Melisa has stabbed herself as her supernatural powers fail against the power of love.
‘Mr Handel’s Scholars’
London Handel Festival
London Handel Orchestra, Laurence Cummings
Anna Devin, Maria Ostroukhova, Nathan Vale, Derek Welton
St George’s, Hanover Square, 23 March 2018
The Handel Singing Competition was inaugurated as part of the London Handel Festival in 2002, and counts several well-known singers amongst the past finalists, if not always amongst the past winners. Several former finalists have become regular performers at subsequent festival events, and this concert was one such. It featured four past finalists, three from 2006/7 and one far more recently, from 2016: two first prize winners, one 2nd prize winner and two winners of the audience prize. Handel was known to have encouraged younger singers, and the title of ‘Mr Handel’s Scholars’ refers to the name by which his young proteges were known. Each half opened with an overture, following by a range of extracts from Handel operas and oratorios, several of which are standard fare at singing competitions.
Ryedale Festival Opera, Orchestra of the Age of Enlightenment ‘Experience Scheme’
Oriental Club London, 29 July 2016
After two performances during the Ryedale Festival (16 and 18 July), Ryedale Festival Opera brought their production of Handel’s Alcina to the courtyard of the Oriental Club in London. In collaboration with eight young instrumentalists from the Orchestra of the Age of Enlightenment’s ‘Experience Scheme’, conducted from the harpsichord by Ian Tindale, this was a staged and impressively costumed production, but with minimal props and no sets or scenery, and given an impressively light directorial touch from Nina Brazier.
Like Handel’s operas Orlando and Ariodante, the story is based on a tale from Ariosto’s Orlando furioso, the epic early 16th century poem of knightly chivalry and fantasy set amidst the wars between Christians and Saracens in the time of Charlemagne. Continue reading