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Ariodante
Opera by George Frideric Handel
18th-century print of a title page
Title page of original printed edition
Librettistanonymous
LanguageItalian
Based onAriosto's Orlando Furioso
Premiere
8 January 1735 (1735-01-08)
Covent Garden Theatre, London

Ariodante (HWV 33) is an opera seria in three acts by George Frideric Handel. The anonymous Italian libretto was based on a work by Antonio Salvi, which in turn was adapted from Canti 4, 5 and 6 of Ludovico Ariosto's Orlando Furioso. Each act contains opportunities for dance, originally composed for dancer Marie Sallé and her company.

The opera was first performed in the Covent Garden Theatre, London, on 8 January 1735. Ariodante opened Handel's first season at Covent Garden and successfully competed against the rival Opera of the Nobility, supported by the Prince of Wales. Handel had the tacit and financial support of the King and Queen and, more vocally, of the Princess Royal. The opera received 11 performances during its premiere season at Covent Garden.[1]

Like Handel's other works in the opera seria genre, Ariodante, despite its initial success, fell into oblivion for nearly two hundred years. An edition of the score was published in the early 1960s, from the Hallische Händel-Ausgabe.[2] In the 1970s, the work began to be revived, and has come to be considered one of Handel's finest operas. On 29 March 1971, the Handel Society of New York performed the American premiere of the work in a concert version with mezzo-soprano Sophia Steffan in the title role and Judith Raskin as Ginevra.[3]

Charles Cudworth has discussed the influence of French dance music in the opera.[4] Winton Dean has noted that Act 2 of the opera, in its original version, is the only act in a Handel opera which ends with accompanied recitative.[5]

Background

[edit]
Interior, Theatre Royal, Covent Garden, where Ariodante was first performed

The German-born Handel had brought Italian opera to London stages for the first time in 1711 with his opera Rinaldo. An enormous success, Rinaldo created a craze in London for Italian opera seria, a form focused overwhelmingly on solo arias for the star virtuoso singers. 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.[6] Handel moved to another theatre, Covent Garden, and engaged different singers.[7] The new theatre at Covent Garden, run by impresario John Rich, added the attraction of a troupe of dancers led by the celebrated Marie Sallé, so Handel's two new operas for 1735, Ariodante and Alcina both include dance sequences, for the first time in Handel opera for London.[8] The singers for whom Handel wrote "Ariodante" included a young soprano, Cecilia Young, whom he had not worked with before, considered by contemporary musicologist Charles Burney to be the finest English soprano of the day,[9] and the virtuoso castrato Carestini, whose astonishing technique and huge vocal range Handel made full use of, especially in the scena "E vivo ancora? E senza il ferro? oh Dei!…Scherza infida in grembo al drudo" and in the jubilant and bravura "Dopo notte, atra e funesta".[10]

Roles

[edit]
Roles, voice types, and premiere cast
Role Voice type Premiere cast, 8 January 1735[11]
Ariodante, a vassal prince mezzo-soprano castrato Giovanni Carestini
Ginevra, daughter of the King of Scotland,
betrothed to Ariodante 		soprano Anna Maria Strada del Pò
Dalinda, attendant on Ginevra,
secretly in love with Polinesso 		soprano Cecilia Young
Polinesso, Duke of Albany contralto Maria Caterina Negri
Lurcanio, Ariodante's brother tenor John Beard
Rè di Scozia (King of Scotland) bass Gustavus Waltz
Odoardo, favorite of the king tenor Michael Stoppelaer

Synopsis

[edit]

Medieval Scotland. Ginevra, daughter of the King, is in love with and betrothed to Prince Ariodante. She rejects the amorous advances of the Duke of Albany, Polinesso, who then cruelly tricks Ariodante and Ginevra's father into believing that Ginevra has been unfaithful. Ariodante attempts suicide and Ginevra is condemned, but after a challenge to a duel by Lurcanio, Ariodante's brother, the dying Polinesso admits his plot and the lovers are reunited.

Act 1

[edit]
Anna Maria Strada, who created the role of Ginevra, by John Verelst (circa 1732)

The royal cabinet, in the palace

Princess Ginevra, in front of her mirror, is adorning herself to make herself beautiful for her beloved. (Aria: Vezze, lusinghe). Polinesso, Duke of Albany, bursts into the room and, thinking that having the king's daughter as his sweetheart would advance his prospects, declares his love for her. Ginevra indignantly rejects him (Aria: Orrida a gl'occhi miei) and leaves. Dalinda, who is secretly in love with Polinesso, advises him that his rival is Prince Ariodante but also advises him that all he has to do is open his eyes to see someone else who loves him (Aria: Apri le luci). Left alone, Polinesso can see that Dalinda is in love with him and plans to use her to thwart his rival and win Ginevra for himself (Aria: Coperta la frode).

The royal gardens

Ariodante sings of how all nature speaks to him of love (Aria: Quì d'amor). Ginevra joins him and they pledge their love (Duet: Prendi, prendi da questa mano). The King joins the lovers, gives them his blessing, and orders his courtier Odoardo to make the preparations for the wedding (Aria: Voli colla sua tromba). Alone, Ariodante swears to be faithful to Ginevra (Aria: Con l'ali di costanza). Polinesso hatches his plot – he tells Dalinda that if she will dress as Ginevra that evening and invite him into her apartments, he will be hers (Aria: Spero per voi). Lurcanio, Ariodante's brother, then appears to Dalinda and declares his love for her (Aria: Del mio sol vezzosi rai) but she has totally lost her heart to Polinesso (Aria:Il primo ardor).

A delightful valley

Ariodante and Ginevra enjoy the beauties of nature and each other's company (Duet: Se rinasce nel mio cor). They are joined by shepherds and shepherdesses (Duet with chorus: Si godete al vostro amor) who dance to entertain them (Ballet).

Act 2

[edit]
Dalinda disguised as Ginevra admits Polinesso to her bedroom, engraving by Gustave Doré

By ancient ruins, within sight of Ginevra's apartments; moonlight

Polinesso and Ariodante meet; Polinesso feigns astonishment when Ariodante tells him he is betrothed to Ginevra, insisting that Ginevra loves him. Ariodante refuses to believe it. This is all being observed by Lurcanio, who is hidden. Polinesso tells Ariodante to watch as "Ginevra", really Dalinda wearing Ginevra's clothes, admits Polinesso into her bedroom for the night. Ariodante is in despair and wants to die (Aria: Tu preparati a morire) but Lurcanio comes from the shadows and advises Ariodante to live, and seek revenge (Aria: Tu vivi). Ariodante sadly bewails his beloved's (supposed) infidelity (Aria: Scherza infida). As day breaks, Polinesso and Dalinda emerge from the palace. Polinesso promises he will reward her, to her delight (Aria: Se tanto piace al cor) and, alone, Polinesso exults in how well his plot is proceeding (Aria: Se l'inganno).

A gallery in the palace

As the King is making the final arrangements for his daughter's wedding, the courtier Odoardo brings him bad news — Ariodante has been seen committing suicide by leaping into the sea. The King is heartbroken (Aria: Invida sorte avara). Ginevra appears, having a premonition of some approaching calamity (Aria: Mi palpita il core). When her father gives her the terrible news, she swoons and is carried away. Lurcanio now appears before the King, who attempts to comfort him on the loss of his brother. The furious Lurcanio, however, hands the King a letter telling him he saw Ginevra admit Polinesso into her bedroom for the night, which caused his brother to kill himself, and Lurcanio now is bent on revenge (Aria: Il tuo sangue). The King disowns his daughter and condemns her as a harlot. When Ginevra hears this, she collapses into delirium (Aria: Il mio crudel martoro) and all Dalinda's attempts to console her fail. Ginevra falls into a fitful, disturbed sleep (Ballet of Good and Bad Dreams). She awakes in distress (Recitativo accompagnato: Che vidi? oh Dei! misera me!)

Act 3

[edit]
Giovanni Carestini, who created the role of Ariodante

A wood near the sea

Ariodante survived, and he now bitterly rebukes the gods for condemning him to live (Arioso: Numi! lasciarmi vivere). Hearing cries, Ariodante finds Dalinda, who is being held by thugs hired by Polinesso, with orders to kill her, as she is the only witness to his plot to discredit Ginevra. Ariodante drives Polinesso's henchmen away, and Dalinda reveals the truth to him — it was she, disguised as Ginevra, who let Polinesso into her bedroom. Ariodante rails against the treachery that caused him to doubt his beloved (Aria: Cieca notte). Alone, Dalinda expresses her remorse (Aria: Neghittosi or voi che fate?).

The royal gardens

The King announces that he will never see his daughter again unless a champion appears to defend her honor. Polinesso steps forward and offers to challenge Lurcanio to a duel (Aria: Dover, giustizia, amor). Ginevra, condemned to death for sexual irregularity, appears before her father begging to be allowed to kiss his hand (Aria: Io ti bacio). Her father clasps her to her bosom, saying that a champion has appeared to defend her — Polinesso. She does not like this idea, but he insists (Aria: Al sen ti stringo e parto). Ginevra prefers death to the loss of her honor (Aria: Sì, morrò). Lurcanio again offers his love to Dalinda, and she indicates that she is now inclined to accept it (Duet: Dite spera, e son contento).

The duelling ground, the King on his throne

Polinesso and Lurcanio fight, Lurcanio mortally wounds Polinesso who is carried away by Odoardo. A new champion appears with his visor down. He reveals himself as Ariodante, to the astonishment of all, and declares Ginevra innocent. Dalinda admits her part in the plot. Odoardo returns with the news that Polinesso, as he died, also admitted his guilt. The King pardons Dalinda and goes to find his daughter. Ariodante jubilantly hails a new bright day dawning after nights of darkness (Aria: Dopo notte).

The room where Ginevra is imprisoned

Ginevra looks death in the face (Arioso: Manca, oh Dei!). But her father and the others appear and declare her vindicated. She is reunited with her beloved Ariodante (Duet: Bramo aver mille vite).

The great hall of the palace. A large staircase supported by columns; on the upper part of the stairs musicians playing wind instruments. The King, Lords and Ladies descend the staircase. He begins the chorus, as the Lords and Ladies dance.

Ogn'uno acclami bella virtute (Chorus)…Ballo (Gavotte—Rondeau—Bourrée)…Sa trionfar ognor virtute in ogni cor (Chorus).[8][12][13][14]

Musical features

[edit]
John Beard, who created the role of Lurcanio

The music for the leading soprano, Ginevra, is "outstanding", according to Paul Henry Lang, moving from joy to despair and back again to happiness.[9] Also of note is the "exquisite"[15] duet for her with Ariodante, "Prendi, prendi da questa mano" and the beautiful pastoral music that concludes the first act. Among a series of remarkable arias for the title role, sung in the first performance by the castrato Carestini, are the mournful aria with bassoon obbligato "Scherza infida", "one of Handel's greatest arias"[16] and the joyful "Dopo notte" with astonishing vocal acrobatics and huge range.[16] For Charles Burney, the opera "abounds with beauties and the strokes of a great master."[17]

Reception and performance history

[edit]

Ariodante was given eleven performances in its original run, a mark of success for the time, and was revived by Handel for his 1736 season. It then went unperformed until a revival in Stuttgart in 1926. Two performances in Birmingham, England, in May 1964, with Janet Baker in the title role and Anthony Lewis conducting, brought the opera into the modern repertory, since when it has been performed on many of the world's stages.[8]

Among other performances, a four-way co-production between the Festival d'Aix-en-Provence, the Canadian Opera Company, Dutch National Opera in Amsterdam, and Lyric Opera of Chicago premiered at Aix in 2014. This updated the setting to the 1960s and altered the ending so that Ginevra departs the celebration, heartbroken.

The English Concert gave semi-staged performances in 2017 in the U.S. and Europe, including at Carnegie Hall,[18] where the event was filmed, and at the Barbican Centre.[19] The Salzburg Whitsun Festival presented a new production by Christof Loy on 2 June 2017 featuring Cecilia Bartoli as Ariodante, Kathryn Lewek as Ginevra, Sandrine Piau as Dalinda, Christophe Dumaux as Polinesso, Rolando Villazón as Lurcanio and Nathan Berg as the King.[20]

Audio recordings

[edit]
Marie Sallé, who danced in the original production of Ariodante
Ariodante discography, audio recordings
Year Cast:
Ariodante,
Ginevra,
Dalinda,
Polinesso,
Lurcanio,
King 		Conductor,
orchestra
 Label
1978, studio recording made
in Brent Town Hall		 Janet Baker,
Edith Mathis,
Norma Burrowes,
James Bowman,
David Rendall,
Samuel Ramey		 Raymond Leppard,
English Chamber Orchestra		 Philips,
Cat:6769 025
1995, live in Göttingen Lorraine Hunt,
Juliana Gondek,
Lisa Saffer,
Jennifer Lane,
Rufus Müller,
Nicolas Cavallier		 Nicholas McGegan,
Freiburg Baroque Orchestra		 Harmonia Mundi,
Cat:HMU 907146.48
1997, live in Poissy Anne Sofie von Otter,
Lynne Dawson,
Veronica Cangemi,
Ewa Podleś,
Richard Croft,
Denis Sedov		 Marc Minkowski,
Les Musiciens du Louvre		 Archiv,
Cat:457 271–2
2000, live in Munich Ann Murray,
Joan Rodgers,
Julie Kaufmann,
Christopher Robson,
Paul Nilon,
Umberto Chiummo		 Ivor Bolton,
Bavarian State Orchestra		 Farao Classics,
Cat:B 108 030
2010, studio recording made
at Villa San Ferma, Lonigo		 Joyce DiDonato,
Karina Gauvin,
Sabina Puértolas,
Marie-Nicole Lemieux,
Topi Lehtipuu,
Matthew Brook		 Alan Curtis,
Il Complesso Barocco		 Virgin Classics,
Cat:50999 07084423[21]

Video recordings

[edit]
Ariodante discography, video recordings
Year Cast:
Ariodante,
Ginevra,
Dalinda,
Polinesso,
Lurcanio,
the King 		Conductor,
orchestra
 Stage director Label
1996, filmed at
English National Opera		 Ann Murray,
Joan Rodgers,
Lesley Garrett,
Christopher Robson,
Paul Nilon,
Gwynne Howell		 Ivor Bolton,
English National Opera		 David Alden Arthaus Musik
DVD cat. 100065
2007, filmed in the
Teatro Caio Melisso, Spoleto		 Ann Hallenberg,
Laura Cherici,
Marta Vandoni Iorio,
Mary-Ellen Nesi,
Zachary Stanis,
Carlo Lepore		 Alan Curtis,
Il Complesso Barocco		 John Pascoe Dynamic
DVD cat. 33559
2017, filmed at the
Salzburg Festival		 Cecilia Bartoli,
Kathryn Lewek,
Sandrine Piau,
Christophe Dumaux,
Rolando Villazón,
Nathan Berg		 Gianluca Capuano,
Les Musiciens du Prince-Monaco		 Christof Loy Unitel Edition
DVD/Blu-ray cat. A04050084

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ariodante

View on Grokipedia
from Grokipedia
Ariodante (HWV 33) is an opera seria in three acts composed by George Frideric Handel to an anonymous Italian libretto adapted from Antonio Salvi's Ginevra, principessa di Scozia (1708), which draws from episodes in Ludovico Ariosto's epic poem Orlando Furioso. The work premiered on 8 January 1735 at the Covent Garden Theatre in London, marking Handel's debut production at the venue following the collapse of his opera company at the King's Theatre. Set in medieval , the opera revolves around the devoted knight Ariodante, who is betrothed to Ginevra, the daughter of King Polimeno of . The plot unfolds as the ambitious and jealous Duke Polinesso, spurned by Ginevra, enlists her attendant Dalinda—who secretly loves him—in a scheme to discredit Ginevra by staging a false rendezvous that suggests her infidelity. Believing the deception, Ariodante falls into despair, renounces his love, and appears to take his own life by leaping into the sea, while Ginevra faces execution for her supposed betrayal. Through a series of trials, including a and revelations, the conspiracy unravels: Polinesso's treachery is exposed, Ariodante returns alive, and the innocent lovers are reunited, with Dalinda finding happiness with Ariodante's brother Lurcanio. Composed amid intense rivalry in London's opera scene, Ariodante featured innovative elements for its time, including elaborate sequences integrated into the drama—a rarity in —and showcased star performers like Giovanni Carestini in the title role and Anna Strada as Ginevra. Despite a modest initial run of 11 performances and mixed contemporary reviews, the opera fell into obscurity until its modern revival in 1959 and has since gained acclaim as one of Handel's most psychologically nuanced and musically sophisticated works. It is celebrated for its poignant arias, such as Ariodante's lament "Scherza infida" and Ginevra's "Il mio crudel martoro," which highlight profound emotional depth through vocal lines and rich orchestral accompaniment.

Background and Context

Historical Setting

George Frideric Handel's introduction of to began with his composition of Rinaldo in 1711, marking the first such work specifically created for the English stage and performed at the Queen's Theatre in the Haymarket (later known as the King's Theatre after George I's accession in 1714). This production established Handel as a central figure in London's burgeoning opera scene, where he served as music director for the Royal Academy of Music from 1719, producing a series of operas at the King's Theatre that popularized the genre among the aristocracy and growing middle class. By 1733, the competitive landscape intensified with the formation of the Opera of the Nobility, a rival company funded by a group of nobles under , who opposed Handel's enterprise backed by his parents, King George II and Queen Caroline. This rivalry divided London's limited opera audience and resources, leading to severe financial strain for both companies and contributing to the collapse of Handel's Royal Academy by 1734. In response, Handel partnered with theater manager and shifted operations to the Theatre Royal, , opening a new season there in November 1734 to sustain his career amid the turmoil. Royal patronage played a crucial role in Handel's endeavors, with Queen Caroline providing longstanding support since his early days in , including subscriptions to his operas and personal attendance at performances, as evidenced by her library holdings and dedications such as in 1724. While the Prince of Wales's backing of the rival company created familial and artistic tensions, the broader royal family's involvement, including subsidies and subscriptions, helped stabilize production in during this period. The integration of dance enhanced the appeal of Handel's operas, particularly at Covent Garden, where elaborate interludes and ballets became a staple to attract diverse audiences beyond vocal performances./11:_Baroque_Opera_Cantata_Oratorio_G._F._Handel/11.05:_G._F._Handel) French dancer and choreographer Marie Sallé made significant contributions during the 1734–1735 season, leading the resident troupe and starring in Handel's newly composed prologue Terpsichore for a revival of Il pastor fido, where her innovative, narrative-driven dances in male attire as the muse of dance underscored the evolving role of ballet in English opera.

Composition History

Ariodante was composed by between 12 August and 24 October 1734, marking his first original for the newly established company at the Theatre Royal, , following the premiere of Arianna in Creta earlier that year. The work came amid Handel's transition from the Royal Academy of Music at the King's Theatre to a with theater manager , as he sought to rebuild his operatic enterprise after financial strains. The , an anonymous Italian adaptation of Antonio Salvi's 1708 drama Ginevra, principessa di Scozia (itself drawn from Ludovico Ariosto's ), underwent revisions to accommodate Handel's cast and the preferences of audiences. Key changes included altering the role of Lurcanio from to for English singer John Beard and expanding opportunities for soprano Cecilia Young as Dalinda, while incorporating extensive interludes composed by Handel for the French dancer Marie Sallé and her troupe, reflecting the growing English taste for dance in . Ariodante premiered on 8 January 1735 at the Theatre Royal, Covent Garden, opening Handel's season there with Giovanni Carestini in the title role and Anna Maria Strada as Ginevra. It received 11 performances through March 1735, achieving solid box-office returns and successfully competing against the rival Opera of the Nobility backed by the Prince of Wales. Although initial critical notices praised its dramatic intensity, the ongoing industry rivalry limited its long-term run, with only two additional performances in 1736. Handel's escalating health challenges, culminating in a paralytic attack in April 1737 that impaired his right arm and vision, curtailed his operatic seasons thereafter and shifted his focus toward oratorios.

Libretto and Characters

Source and Adaptation

The libretto of Ariodante draws its narrative foundation from cantos 4, 5, and 6 of Ludovico Ariosto's epic poem (1516), which features a Scottish subplot centered on themes of , , and honor involving the characters Ginevra, Ariodante, and Polinesso. The poem's episode, embedded within a larger , depicts Ginevra's apparent and the ensuing trials of loyalty and vengeance among knights. The immediate source for Handel's opera is Antonio Salvi's Ginevra, principessa di Scozia (1708), a drama per musica originally composed for a performance near . This text had been set to music by Giacomo Antonio Perti for its 1708 premiere. Salvi's adaptation streamlined Ariosto's sprawling epic into a more operatic structure, concentrating on the core intrigue of deception and vindication while retaining the Scottish setting. For Handel's version, an anonymous librettist further modified Salvi's work by shortening the overall narrative and recitatives to heighten pacing, rearranging scenes to amplify dramatic tension through intensified emotional exchanges, and integrating English elements such as sequences and dances to appeal to London's theatrical tastes. These changes eliminated extraneous figures like Rinaldo from Ariosto's tale, allowing Ariodante to drive the rescue plot, and altered Dalinda's resolution from penitence to triumphant union with Lurcanio, enhancing the opera's celebratory close. Distinct from Ariosto's emphasis on heroic quests and fantastical adventures, the libretto's adaptations underscore themes of —exemplified by Polinesso's manipulative scheme—and redemption through Ginevra's and the lovers' reconciliation, prioritizing psychological introspection and moral restoration over martial exploits.

Roles and Premiere Cast

Ariodante features seven principal singing roles, typical of Handel's , with voice types reflecting the castrati-dominated conventions of 18th-century . The title character, Ariodante, is a noble and prince betrothed to Ginevra, portrayed as a castrato role to convey heroic depth and emotional vulnerability. Ginevra, the King's daughter and Ariodante's fiancée, is a , embodying innocence and lyrical grace. Polinesso, the scheming and primary antagonist, is an alto castrato or role, allowing for agile, villainous . Dalinda, Ginevra's attendant secretly enamored with Polinesso, is a , providing contrast through her subordinate yet pivotal position. Lurcanio, Ariodante's brother and a loyal , is a , suited to martial and resolute arias. The King of Scotland is a bass, representing paternal and . Odoardo, father to Ariodante and Lurcanio, is another , often with a more paternal, advisory function. The premiere on 8 January 1735 at the Theatre in featured a distinguished cast drawn from Handel's company, many of whom were frequent collaborators. In the title role, Giovanni Carestini, a celebrated castrato from , made his London debut; known for his expressive phrasing and technical prowess, he had previously sung in Handel's productions like Agrippina in Italy and became a staple in the composer's operas until 1736. Ginevra was sung by Anna Maria Strada del Pò, Handel's favored soprano since 1733, renowned for her brilliant high register and stamina in demanding arias, as heard in roles like those in Il Pastor fido. Polinesso was performed by Maria Caterina Negri, a versatile Italian who excelled in trouser roles and had appeared in Handel's earlier works such as Radamisto (1720 revival), bringing dramatic intensity to the duke's deceitful schemes. Dalinda was taken by Cecilia Young, an emerging English soprano and daughter of composer Charles Young, who debuted young in Handel's ensembles and later became a prominent singer. Lurcanio's role went to John Beard, Handel's reliable leading male voice since the 1730s, celebrated for his clear tone and dramatic delivery in operas like . The King of was portrayed by Gustav Waltz, a German bass known for his resonant low register in Handel's bass-baritone parts, including in revivals of . Finally, Odoardo was sung by William Savage, a and Handel's who assisted in copying scores and performed minor roles before gaining prominence in English .
RoleVoice TypeDescriptionPremiere Performer (1735)
Ariodante (castrato)Noble and princeGiovanni Carestini
GinevraDaughter of the Anna Maria Strada del Pò
PolinessoScheming Maria Caterina Negri
DalindaGinevra's attendantCecilia Young
LurcanioAriodante's brother, a John Beard
King of ScotlandBassGinevra's father, rulerGustav Waltz
OdoardoFather of Ariodante and LurcanioWilliam Savage
Beyond the principals, the includes minor non-singing or mute roles such as knights and courtiers, but the chorus plays a significant part, comprising huntsmen, soldiers, and attendants who provide commentary and festive interludes in multiple scenes. Handel's productions typically featured a chorus of 16-20 singers, drawn from the company's , to support the dramatic . Ballets were , with professional dancers performing choreographed sequences—often French-influenced minuets and gavottes—led by figures like the Dupré family, who specialized in such opera divertissements and had collaborated with Handel since the . These dances, totaling around 20 minutes across the acts, enhanced the court's ceremonial atmosphere without named roles.

Synopsis

Act 1

The opera is set in medieval at the court of the King of Scotland. In the royal palace, Princess Ginevra confides in her attendant Dalinda her joy at her impending marriage to the noble knight Ariodante, a union approved by her father the King. The , Polinesso, who has been spurned by Ginevra in favor of Ariodante, enters and presses his suit, only to be firmly rejected by the princess, who declares her unwavering love for her betrothed. Left alone with Dalinda, Polinesso learns from her of Ariodante's favored position and perceives her unspoken affection for him, which he resolves to exploit for his vengeful schemes against Ginevra. In the royal gardens, Ariodante contemplates the beauties of nature as a reflection of his love for Ginevra. She arrives, and the two exchange vows of eternal fidelity, sealing their bond with tender assurances. The King enters to bless the couple, announcing the betrothal publicly and instructing his attendant Odoardo to make preparations for the celebrations. Ariodante reaffirms his steadfast devotion to Ginevra, emphasizing the constancy of his heart. Meanwhile, Polinesso approaches Dalinda privately, manipulating her by proposing a deceptive plan: she is to disguise herself as Ginevra and admit him to her chambers that night, allowing him to create the illusion of an illicit encounter that will sow doubt in Ariodante's mind about Ginevra's loyalty. Dalinda, torn but hopeful for Polinesso's favor, agrees to the intrigue. Lurcanio, Ariodante's brother, confesses his to Dalinda, praising her charms and seeking her reciprocation. However, Dalinda rejects him, her thoughts consumed by her devotion to Polinesso, thus establishing a of unrequited affection amid the court's tensions. The act shifts to a delightful valley where Ariodante and Ginevra revel in their mutual joy, surrounded by the serenity. To honor the betrothed pair, shepherds and shepherdesses gather, joining in dances that symbolize the of and , culminating in festive entertainments as preparations for the advance.

Act 2

In Act 2, the intrigue intensifies as Polinesso advances his scheme to discredit Ginevra by exploiting Dalinda's infatuation with him. Under the cover of near ancient by Ginevra's apartments, Polinesso encounters Ariodante and feigns surprise at the betrothal, boldly claiming that Ginevra is his lover and that Ariodante has been deceived. To substantiate his assertion, Polinesso arranges for Dalinda, disguised in Ginevra's clothing, to impersonate her and admit him into the chamber, a clandestine meeting that Ariodante witnesses from hiding, shattering his faith in Ginevra's fidelity. Devastated by the apparent , Ariodante plunges into profound despair, initially vowing to confront Polinesso but soon withdrawing into isolation as overwhelms him, contemplating as the only escape from his torment. Lurcanio, who has observed the scene in secret, emerges to console his brother and urges him to channel his anguish into vengeance rather than self-destruction, though Ariodante remains inconsolable, lamenting the that has undone his happiness. Meanwhile, Polinesso revels in the success of his , promising Dalinda rewards for her while exulting in the chaos he has sown. As dawn breaks, news reaches the palace that Ariodante has thrown himself into the sea in , plunging the court into mourning and heightening the king's suspicions about the events leading to this . Ginevra, sensing , defends her innocence against the growing accusations but collapses in confusion and faint upon learning of Ariodante's supposed death, her pleas falling on deaf ears. Lurcanio, fueled by grief over his brother, publicly challenges the honor of Ginevra by accusing her of with Polinesso, which prompted Ariodante's fatal despair; the king, swayed by this testimony and his own doubts, disowns his daughter in a fit of rage, isolating her further. The act reaches its emotional climax with Ginevra's descent into , tormented by visions and the weight of unjust condemnation, as Dalinda attempts in vain to comfort her amid the court's turmoil; Ginevra ultimately succumbs to a troubled sleep haunted by nightmares, underscoring the peak of and familial rupture.

Act 3

In Act 3 of Ariodante, the opera reaches its denouement with the revelation of truths and the restoration of . The act opens in a near the sea, where Ariodante, having survived his earlier , laments his continued existence in the "Numi! lasciarmi vivere" before rescuing Dalinda from Polinesso's henchmen, who intend to silence her. Under duress, Dalinda confesses that she had disguised herself as Ginevra to allow Polinesso into her chamber, exposing his scheme to frame the for ; Ariodante denounces the in his "Cieca notte," while Dalinda expresses her in "Neghittosi or voi che fate?" The scene shifts to the royal gardens, where the King swears never to see Ginevra again unless her honor is upheld, prompting Polinesso to volunteer as her and challenge Lurcanio to a in the "Dover, giustizia, amor." Ginevra, in despair, begs her father for mercy in "Io ti bacio" and contemplates in "Sì, morrò" rather than live with dishonor, but the king relents slightly by accepting Polinesso's offer. Meanwhile, Lurcanio and Dalinda reconcile in their "Dite spera, e son contento," resolving the of familial tension. On the dueling ground, Lurcanio mortally wounds Polinesso in combat, after which Ariodante emerges alive to declare Ginevra's and serve as her true . Dalinda reiterates her confession, and the dying Polinesso admits his guilt, fully vindicating Ginevra. The king pardons Dalinda and reunites with his daughter, blessing her impending marriage to Ariodante, who expresses his in the "Bramo aver mille vite" as they embrace. The act concludes in the great hall of the palace with a celebratory ensemble, "Ogn'uno acclami bella virtute," where the king, nobles, and attendants praise virtue's triumph, followed by a joyous ballet underscoring the resolutions and moral restoration.

Music and Structure

Orchestration and Style

Ariodante follows the conventional structure of opera seria, comprising three acts filled with da capo arias, secco and accompagnato recitatives, and occasional ensembles, totaling approximately 40 musical numbers that advance the dramatic narrative through contrasting emotional expressions. The da capo form dominates the arias, allowing singers to ornament the repeated A section for virtuosic display, while recitatives provide textual dialogue and transitions, with secco versions supported solely by continuo and accompagnato enriched by orchestral interjections for heightened pathos. The relies on a core ensemble of strings—including first and second violins, violas, and cellos—paired with continuo realized on and , augmented by pairs of oboes and bassoons for color, horns deployed specifically in and hunting scenes to evoke rustic atmospheres, and occasional flutes and trumpets to underscore thematic elements rather than grandeur, emphasizing intimacy in the score's overall texture. Stylistically, Ariodante fuses the lyrical elegance of Italian —characterized by flowing melodic lines and expressive vocal embellishments—with English theatrical adaptations, incorporating French-inspired dances such as gavottes and rondeaux alongside hunting motifs signaled by horn calls that reflect the opera's Scottish setting. This synthesis highlights Handel's adaptability to Covent Garden's audience, blending operatic tradition with accessible dramatic flair. Ballet plays a prominent role through integrated divertissements, particularly a four-movement suite in Act 1 and concluding dances in Act 3, which extend the interludes and celebrate resolutions, drawing on the theater's tradition of choreographed spectacles in collaboration with dancer Marie Sallé. These , often featuring French styles, enhance the opera's visual and rhythmic variety without interrupting the core plot.

Notable Musical Numbers

One of the most celebrated arias in Ariodante is Ariodante's "Scherza infida" from Act 2, an extended lament that captures the hero's profound despair upon believing himself betrayed by Ginevra. The piece features chromatic vocal lines that evoke emotional turmoil, accompanied by obbligato suggesting a malign presence, alongside muted violins and basses for a haunting effect. This exemplifies Handel's mastery in blending musical innovation with dramatic intensity, marking a pivotal moment of psychological depth in the opera. Ginevra's "Orrida a gl'occhi miei" in Act 1 stands out for its virtuosic passages, which highlight her innocence and emotional vulnerability as she contemplates the implications of her betrothal. The demands agile runs and leaps, underscoring her character's purity amid rising tensions, with orchestral strings providing a supportive yet tense backdrop. Polinesso's "Coperta la frode" from Act 1 serves as a seductive showcase of the villain's duplicity, featuring flute-like obbligatos that mimic coaxing tones to advance his scheme against Ginevra. The line weaves manipulative charm through sinuous melodies, emphasizing the character's cunning and moral corruption with woodwinds enhancing the deceptive allure. The opera culminates in the joyful final and chorus "Sa trionfar ognor" in Act 3, where the full cast unites in triumphant resolution following the revelations of truth and justice. This exuberant number employs the complete and chorus to convey collective relief and celebration, with lively rhythms and harmonious voices symbolizing restored . Handel incorporates pastoral elements throughout, notably in interludes like the Act 1 and dance sequences featuring musettes evoking and lively gigues, which infuse the Scottish setting with rustic vitality and contrast the dramatic intrigue.

Performance History

Premiere and Early Revivals

Ariodante premiered on 8 January 1735 at the Theatre Royal, , in , marking George Frideric Handel's first opera for this newly established venue after the collapse of his previous company at the King's Theatre. The production enjoyed tacit financial support from King George II and Queen Caroline, who Handel had presented the work to privately on 4 November 1734, along with vocal backing from the ; this royal patronage helped sustain the enterprise amid intense competition from rival opera ventures. The opera achieved a respectable run of 11 performances through late February, reflecting moderate financial success for the era, bolstered by strong attendance including from the royal family. However, the season closed prematurely due to the onset of on 5 March, after which theatrical performances were traditionally curtailed until . Handel revived Ariodante briefly the following year, mounting two additional performances on 5 and 7 May 1736 at , with alterations to the score and casting. Beyond these early outings, Ariodante received no significant full stagings during the remainder of the 18th or 19th centuries, as Handel's operas waned in popularity with the decline of the opera seria genre and shifting audience preferences toward ballad operas and later forms. Elements of its music were partially repurposed by Handel in subsequent works, such as pasticcios and oratorios, but the complete opera lay dormant. Scholarly efforts in the 19th century, notably Friedrich Chrysander's critical edition published in 1881 as part of the Deutsche Händel-Gesellschaft series (Band 85), played a key role in preserving the score for future generations. The first 20th-century revival came in 1926 at the in , featuring an abbreviated version amid growing interest in Handel's dramatic works during the . This production, conducted with period-informed practices emerging at the time, signaled the beginning of a gradual rediscovery, though full-scale revivals remained rare until the post-World War II Baroque revival.

20th and 21st Century Productions

The modern revival of Handel's Ariodante began with its first significant 20th-century production in May 1964 at the , , where took the title role in a semi-staged performance conducted by . This two-performance run, using the full score, was instrumental in reintroducing the opera to contemporary audiences and establishing Baker's interpretation as a benchmark for the trouser role. A decade later, the Handel Opera Society mounted a fully staged production at in in October 1974, directed by John Copley and featuring Maureen Lehane as Ariodante. This revival, conducted by Charles Farncombe, highlighted the opera's dramatic intensity and contributed to the burgeoning interest in Handel's operas during the baroque revival movement. In the , Ariodante has enjoyed key stagings that underscore its psychological depth and adaptability. David Alden's 2007 production at the Gran Teatre del Liceu in emphasized themes of jealousy and intrigue through a minimalist, lens. Richard Jones's 2014 staging at the Aix-en-Provence Festival, starring as Ariodante, with as Dalinda and Sandrine Piau as Ginevra, explored gender ambiguity and emotional turmoil in a sleek, modern aesthetic. The 2017 production, directed by Christof Loy with in the lead, further amplified these elements by portraying Ariodante's journey as one of gender transformation, blending period style with contemporary relevance. Recent productions continue to demonstrate the opera's vitality. In 2023, Opera presented a semi-staged version at the CAPA Theater, focusing on the score's emotional arc with period-informed instrumentation. That same year, Les Arts Florissants performed Ariodante in concert at the , with Léa Desandre as Ariodante, highlighting the work's lyrical beauty under William Christie's direction. Robert Carsen's production premiered in May–June 2023 at the Opéra Bastille, conducted by Harry Bicket and starring Emily D'Angelo as Ariodante. In 2025, Baroque offered a staged production in April at the GBH Calderwood Studio, led by Martin Pearlman in his final season with the ensemble. The Opéra national de Paris presented a revival of Carsen's production in September–October at the , conducted by Raphaël Pichon. Upcoming in December are stagings at the Opéra Royal de Versailles (5–11) and the Royal Opera House (9–21), the latter marking Handel's first new production at Covent Garden since 1735 and directed by Jetske Mijnssen. Modern revivals of Ariodante have trended toward interpretations that accentuate its , often through innovative explorations of in casting and staging, alongside a consistent use of period instruments to capture Handel's original sound world. Since , the opera has seen over 50 major productions worldwide, reflecting its enduring appeal and integration into the standard .

Recordings

Audio Recordings

The first complete studio recording of Handel's Ariodante was released in 1978 on the label, conducted by Raymond Leppard with the English Chamber Orchestra. portrayed Ariodante with her signature dramatic depth and vocal agility, particularly in the opera's poignant lament "Scherza infida," while Edith Mathis as Ginevra and James Bowman as Polinesso provided strong support in this modern-instrument performance emphasizing Handel's emotional intensity. The recording, made in Brent Town Hall, remains a benchmark for its lush orchestral sound and Baker's commanding presence in the title role. A 1996 studio recording on Harmonia Mundi, conducted by Nicholas McGegan with the Freiburg Baroque Orchestra, is celebrated for its and expressive clarity. delivered a compelling Ariodante, with nuanced phrasing in key arias like "Scherza infida," supported by Lisa Saffer as Ginevra and Jennifer Lane as Polinesso. This period-instrument version highlights Handel's dramatic recitatives and arias with vibrant articulation. In 1997, Archiv Produktion released a period-instrument led by Marc Minkowski and Les Musiciens du Louvre, noted for its rhythmic vitality and dramatic intensity. excelled as Ariodante, offering expressive that captured the character's turmoil, complemented by Lynne Dawson's Ginevra and Ewa Podles' commanding Polinesso. This rendition emphasizes Handel's innovative use of recitatives and ensembles with crisp ensemble playing. The 2010 release (recorded 2007) on Virgin Classics/Erato, conducted by Alan Curtis with Il Complesso Barocco, captures a live studio session emphasizing Baroque transparency and ornamentation. Joyce DiDonato shone as Ariodante, her vibrant mezzo conveying despair in arias like "Scherza infida," while the cast, including Karina Gauvin as Ginevra and Marie-Nicole Lemieux as Polinesso, balanced dramatic flair with stylistic precision. The recording prioritizes vocal agility and ensemble interplay, offering an intimate view of the opera's intricate ensembles. No major commercial audio releases of complete Ariodante performances appeared between 2010 and 2025, though live recordings from productions like the 2023 Opéra were available via the venue's platform but not issued as standalone audio albums by that date.

Video Recordings

Video recordings of Handel's Ariodante capture key staged and concert performances, emphasizing the opera's dramatic intensity through visual stagings that highlight themes of and deception. These releases, primarily on DVD and Blu-ray, showcase period-instrument ensembles and star casts, with recent additions including streams and cinema presentations up to 2025. Formats typically feature full operas in aspect ratios, multilingual subtitles, and occasional bonus content such as interviews. The earliest major video release is the 1996 production from the at the London Coliseum, conducted by Ivor Bolton with the ENO Orchestra and Chorus. Directed by David Alden in a modernist style, it stars as Ariodante, Joan Rodgers as Ginevra, as Dalinda, Christopher Robson as Polinesso, Paul Nilon as Lurcanio, and Gwynne Howell as the King of . Released by Arthaus Musik on DVD (, region all, aspect ratio 1.78:1, runtime 178 minutes), it includes subtitles in German, French, and Dutch but lacks English subtitles. No bonus features are listed, though the staging's bold visuals, including psychological tension conveyed through abstract sets, remain influential. A 2008 DVD set documents the 2007 Spoleto Festival production, led by Alan Curtis conducting Il Complesso Barocco. Staged by John Pascoe with designs by Hildegard Müller, it features Ann Hallenberg as Ariodante, Laura Cherici as Ginevra, Mary-Ellen Nesi as Polinesso, Marta Vandoni Iorio as Dalinda, and Vittorio Prato as Lurcanio. Distributed by Dynamic (2-DVD set, , region 0, 1.78:1, runtime approximately 180 minutes), the release offers subtitles in English, German, French, Italian, and Spanish. Bonus features include interviews with Curtis, Pascoe, and principal singers, providing insights into the historical staging approach that blends authenticity with contemporary clarity. Cecilia Bartoli's acclaimed portrayal anchors the 2017 production, directed by Christof Loy with sets by Johannes Leiacker. Gianluca Capuano conducts Les Musiciens du Prince-Monaco and the Salzburger Bachchor, with Bartoli as Ariodante, as Ginevra, Christophe Dumaux as Polinesso, Sandrine Piau as Dalinda, Rolando Villazón as Lurcanio, and Nathan Berg as the King. Released by Unitel Edition in 2021 on 2-DVD (, region all, aspect ratio 16:9, runtime 216 minutes) and Blu-ray, it features subtitles in English, German, French, Italian, Spanish, and Japanese. The abstract, gender-fluid staging emphasizes emotional turmoil, with bonus material including a 20-minute "making of" documentary and cast interviews. In 2023, a performance by Les Arts Florissants at the , under William Christie's direction, starred Léa Desandre as Ariodante and Ana Maria Labin as Ginevra, with Renato Dolcini as Polinesso. Streamed live via the Philharmonie's platform (aspect ratio 16:9, runtime about 180 minutes), it included French and English and focused on vocal purity without staging, highlighting Christie's crisp style. No commercial physical release exists, but the stream remains available on demand for subscribers. The most recent addition is the 2025 cinema release of Les Arts Florissants' semi-staged production, filmed live on June 30 at in and directed musically by William Christie. Featuring Léa Desandre as Ariodante, Ana Maria Labin as Ginevra, Hugh Cutting as Polinesso, and Ana Vieira Leite as Dalinda, with Nicolas Briançon's mise-en-espace, it emphasizes intimate character interactions. Distributed theatrically ( 16:9, runtime approximately 180 minutes), screenings include English, French, and German ; bonus content in select showings features a post-performance discussion with Christie and Desandre. As of November 2025, it has been screened in major cities, with plans for streaming on Concert.

References

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