Agrippina
Opera in three acts
Libretto by Vincenzo Grimani
First performance: Teatro San Giovanni Gristostomo, Venice, December 1709
Cast:
Agrippina, wife of the emperor Claudius
Claudius, emperor of Rome
Nerone, the son of Agrippina from previous marriage
Poppea, a Roman lady
Ottone, army commander
Pallas, a freedman
Narcissus, a freedman
Lesbo, servant of Claudius
Juno, the goddess
Program Notes by Martin Pearlman
"The audience was so enchanted with [Agrippina], that . . . the theatre at almost every pause, resounded with shouts and acclamations of viva il caro Sassone! [long live the dear Saxon] and other expressions of approbation too extravagant to be mentioned. They were thunderstruck with the grandeur and sublimity of his style: for never had they known till then all the powers of harmony and modulation so closely arrayed, and so forcibly combined."
This account is by Mainwaring, Handel's first biographer, who was born well after the event. Whether or not the audience experienced the "harmony and modulation" in exactly this way, there is no doubt about the resounding success of Handel's second Italian opera. It ran for an extraordinary 27 performances and established the 24-year-old composer's reputation throughout Europe. It was the first huge triumph of his career.
Agrippina was written toward the end of Handel's formative years in Italy, with the first performances taking place in Venice at the theater of San Giovanni Gristostomo during the winter carnival season of 1709-10. The cast included some of the most famous names in opera, including Margherita Durastanti, for whom Handel created the title role and who later went on to sing many of Handel's operas in England. Poppea was sung by the soprano Diamante Maria Scarabelli, whose virtuosic technique inspired Handel to add a virtuosic aria to the opera during its initial run. The role of the hero Otho was written for a woman, Francesca Vanini-Boschi, and the high role of Nero was sung by the castrato Valeriano Pellegrini.
The music of Agrippina has the wonderfully fresh, inventive spirit of Handel's youth, but it is not entirely original. Despite the fact that Handel was still a young man, he recycled many of his own earlier works -- mostly music which had previously been heard only in private salons -- and, in a few instances, he adapted works of other composers. These "borrowed" works became the basis of his overture and all but five of the arias in this opera, but they were extensively rewritten for Agrippina to brilliantly reveal the character of each role. As with Messiah, Handel is said to have composed the entire opera in a mere three weeks, a feat that is astonishing even with the borrowed music.
The libretto is by Cardinal Vincenzo Grimani, whose family owned the theater, and it was written expressly for Handel. That was unusual, since, for most of his other operas, Handel turned to libretti which had already been set to music by other composers. The characters in this opera, with the exception of Lesbo, are all historical, although Grimani takes liberties with his chronology. Their story derives from the accounts by Tacitus and Suetonius, but here they are treated with a lighter -- and sometimes more comical -- touch than the characters in the ancient sources, or indeed than the characters in most of Handel's later operas. Agrippina, the mother of Nero and wife of Claudius, schemes to place her son on the throne while navigating the tangled relationships of Nero, Poppea and Otho. The story has its sequel in the much earlier Monteverdi opera The Coronation of Poppea, which follows the vicissitudes of these last three characters.
Handel's success with Agrippina changed the course of his life. Among the dignitaries in the audience were Baron Kielmansegge of Hanover and Prince Ernst, the brother of the Elector of Hanover, both of whom went repeatedly to hear the new opera. Handel was soon offered a position at the court in Hanover and left Italy for Germany. As it happened, Germany would be only a brief stop on his path to London, where the greater part of his career would unfold.
Vocal Ornamentation by Martin Pearlman
Click on the aria titles below to download or view a PDF of the vocal ornamentation by Martin Pearlman. The arias are organized by opera character.
Aria ornamentation is also available for Handel’s Alcina, Amadigi di Gaula, Ariodante, Giulio Cesare, Partenope, Semele, and Serse.
Orchestration Chart
This chart gives an overview of the work, showing which soloists and instruments are in each movement. It has also been useful in planning rehearsals, since one can see at a glance all the music that a particular musician plays. Red X's indicate major solo moments for a singer. An X in parentheses indicates that the use of that instrument is ad libitum.
This is a preview of the beginning of the chart. You can download or view a PDF of the whole chart here.
© Boston Baroque 2020
Boston Baroque Performances
Agrippina
April 24 & 25, 2015
NEC’s Jordan Hall, Boston, MA
Martin Pearlman, conductor
Soloists:
Susanna Phillips - Agrippina
Kevin Deas - Claudius
David Hansen - Nero
Amanda Forsythe - Poppea
Marie Lenormand - Otho
Douglas Williams - Pallas
Krista River - Narcissus
Mark McSweeney - Lesbo
October 21 & 22, 2005
NEC’s Jordan Hall, Boston, MA
Martin Pearlman, conductor
Soloists:
Twyla Robinson - Agrippina
Sari Gruber - Poppea
Margaret Lattimore - Otho
Michael Maniaci - Nero
Kevin Deas - Claudius
Sumner Thompson - Pallas
Eudora Brown - Narcissus
Aaron Engebreth - Lesbo