...What "makes" a successful Handel opera, and why are some more successful than others? A credible and gripping story in the libretto? Some arias which have acquired independent life on "greatest Handel aria" albums of solo performers like Scholl, de Niese, Daniels, or Connolly? Subtle and elegantly-scored numbers such as those set in the Egyptian court of Cleopatra in GIULIO CESARE (with its array of exotic harps and lirone-viols)?
Good questions Reiner. As one who has never yet immersed himself in Handel opera I have to say that your second category applies to me (i.e. many selections/arias with supposedly 'independent lives' are well known). However I have always felt guilty that knowing Handel
primarily to have considered himself an operatic composer I have always been content in my limited way to know his oratorios, sacred choral works, instrumental music and concertos. It is, therefore, time for me to remedy this defect.
I plan to visit HMV in Oxford Street in the coming week, and shall eagerly search out the Naxos recording you recommend. When I have sufficiently immersed myself in its glories I shall write further.
Baziron