"You have taken far too much trouble over your opera. Here in England, that is a mere waste of time." ~ Handel to Gluck
Handel's Path to Covent Garden is a provocative exposé of Handel's progression within the tumultuous
opera culture of London during the 1720s and 1730s.
This book presents theories relating to the circumstances that ultimately led Handel to Covent Garden, and elaborates on previously accepted analysis concerning Handel's opera career in London.
This book presents theories relating to the circumstances that ultimately led Handel to Covent Garden, and elaborates on previously accepted analysis concerning Handel's opera career in London.
Did Handel nearly destroy his own career?
Various issues that had become shrouded in the mists of time and speculation are explored, and grey areas are highlighted, such as the demise of the Royal Academy, and Heidegger and Handel's partnership during the 'Second Academy'.
New theories are also offered concerning the formation of the rival Opera of the Nobility company, and features commentaries on Handel's progression and innovative operatic style during his years at Covent Garden.
Handel's Path to Covent Garden offers a fresh, new perspective on Handel's motivations, his psychological need for artistic independence, and his endeavour to maintain complete control over his productions, thereby opening new avenues for debate and further study, and will appeal to all Handelian admirers, amateurs and professionals, musicologists, and opera aficionados.
Scroll down for reviews!
Book Details
Batalha Publishers
Hardcover 2nd Edition August 13, 2010
258 pages
ISBN:9899684430
(ISBN13: 9789899684430)
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Reviews:
Review by Randal Radic, Posted on February 1, 2011,
BlogCritics.org
Most music lovers go ga-ga over Handel’s famous
oratorio ‘Messiah,’ as well they should. However, what most music
lovers don’t know is that Handel established his fame upon the
bedrock of Italian opera. Handel wrote many operas. During one twelve
month span, while at the Royal Academy of Music, Handel wrote three
operas, Giulio Cesare, Tamerlano, and Rodelinda. All
three were big hits and wildly successful at the box office.
In 1728, just as Handel’s contract with the Royal
Academy expired, Italian opera fell out of vogue. The listening public
decided they preferred the English style of opera. Still, Handel kept
the faith. He started a new company, going into partnership with John
Jacob Heidegger, who was the manager of the King’s Theatre in the
Haymarket. Handel and Heidegger continued to produce Italian operas
successfully for a few years. Then in 1733, a rival opera company –
the Opera of the Nobility – opened for business, bringing in such
superstars as Johann Adolf Hasse, Nicolo Porpora, and Carlo Boschi,
who was better known as Farinelli. Handel and Heidegger couldn’t vie
with such big names. Their venture effectively failed and Handel and
Heidegger parted ways.
Instead of retiring, as most thought he would, Handel
moved on to Covent Garden, where he joined up with John Rich. For
three years, the two impresarios struggled financially and
artistically. This period of adversity – from 1734 to 1737 – and
how it changed Handel’s life, career, and fortune is the subject of
E.A. Bucchianeri’s remarkable book, Handel’s Path to Covent
Garden.
Bucchianeri examines the intrigues, back stabbings,
jealousies, and rivalries that existed at the Royal Academy of Music.
The examination reveals that, as in today’s music world, egos and
money are greater motivators than musical expression. To put it
simply, everyone was caught up in power plays, trying, like a bunch of
spoiled brats, to get their way. It makes for amusing reading,
especially as it took place almost 300 years ago.
Of particular interest is John Rich’s arrangement
with Handel. According to Bucchianeri, unlike most people in his
position, John Rich wasn’t motivated by ego or money. "Rich
aspired to succeed in overcoming the deficiencies in Italian
opera." Therefore, Rich disregarded "a practical business
approach on this one project, he may have decided to afford every
opportunity to Handel," who he recognized as England’s
"best composer."
The result of this "opportunity" was Handel’s
growth and change as a composer. Bucchianeri relates this adaptation
in detail, using the evolution of Handel’s opera Ariodante to
illustrate Handel’s genius and creativity. For one thing, Ariodante
had no magical content, which meant it was neither heroic nor
anti-heroic. In other words, Handel was doing something totally
different. The difference wasn’t shocking or scandalous. It was
simply unique. And, according to Bucchianeri, this distinctiveness
eventually found its way into Handel’s oratorios.
What makes Handel’s Path to Covent Garden so
much fun to read is the author’s scholarship and the author’s
ability to express that same erudition in simple language. In other
words, although Bucchianeri does occasionally get technical, Handel’s
Path to Covent Garden is a book for the average Joe or Susie. One
doesn’t have to have a musical background or a doctorate to enjoy
the book. At the same time, the book is just technical enough to
appeal to music lovers. For the latter group, the book fills in a gap
surrounding Handel’s life and work.
On the Read-O-Meter, which ranges from 1 star
(terrible) to 5 stars (delightful), Handel’s Path to Covent Garden
comes in at 5 stars.
Lyric FM,
Classical Music Radio
Ireland
"Keep an eye out for this new book by E. A. Bucchianeri, which
traces Handel's progression within the tumultuous opera culture of
London
during the 1720s and 1730s. ...the book offers new theories relating
to the circumstances that ultimately led Handel to
Covent Garden
."
Reviewed by David Adams on Into the Evening March 13, 2003; Lyric FM:
"... There were so many details raised and questions asked which
make the reader really excited and interested in the period and what
was happening. ... There are many, many details which just suddenly
bring home to you, 'My goodness, it was different in those days!'
... There are many things that jumped out of this book at me ...
"
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