Tolomeo
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| Operas by George Frideric Handel |
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Almira (1705) |
Tolomeo, re di Egitto (Ptolemy, King of Egypt) (HWV 25) is an opera in three acts by George Frideric Handel to an Italian text by Nicola Francesco Haym, adapted from Carlo Sigismondo Capece's Tolomeo et Alessandro.
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[edit] Performance History
It was Handel's 13th and last opera for the Royal Academy of Music. It was first performed at the King's Theatre, London on 30 April 1728 and revived with revisions on 19 May 1730 and 2 January 1733. The first modern production was by Fritz Lehmann at Göttingen on 19 June 1938.
[edit] Roles
| Role | Voice type | Premiere Cast, April 30, 1728 (Conductor: - ) |
|---|---|---|
| Tolomeo, former ruler of Egypt | alto castrato | Senesino |
| Seleuce, wife of Tolomeo | soprano | Francesca Cuzzoni |
| Elisa, sister of Araspe | soprano | Faustina Bordoni |
| Alessandro, brother of Tolomeo | alto castrato | Antonio Baldi |
| Araspe, King of Cyprus | bass | Giuseppe Maria Boschi |
[edit] Synopsis
The action takes place at the time of [Ptolemy IX Lathyros|Ptolemy IX]] was deposed by his mother and joint ruler of Egypt Cleopatra III in favour of his younger brother Ptolemy X (Alessandro). Its themes include revenge, lust, lost love, devotion, and eventually, reconciliation.
[edit] Act 1
The action opens with Tolomeo on the beach of Cyprus, where he meets his shipwrecked brother, Alessandro. Alessandro has come under orders from Cleopatra to kill his own flesh and blood. Tolomeo becomes aware of Alessandro's identity and is tempted to kill him, but can't bring himself to do so. Tolomeo (going under the name of Osmin to protect himself from the wrath of King Araspe, an ally of Cleopatra) hides and Elisa sister of the king turns up. Alessandro wakes, thinks her liken to a goddess and declares his love for her. She, however, loves "Osmin". She is very flirtatious. But when the two talk it is clear that her feelings are not requited and Tolomeo loves another (Seleuce, his wife who he thinks lost). Alone, he considers taking his own life.
We are then introduced to Seleuce who is also going under an alias, "Delia". She sings of her dispossession then sees Tolomeo on the shore, but runs away when Araspe arrives. He is furious at Seleuce, who he himself pursues with amorous intent. Act one closes with Tolomeo visualising his wife, wishing that she could appear before him and ease his pain.
[edit] Act 2
Tolomeo loses his temper and declares to Elisa that he is not "Osmin" but is indeed the deposed joint ruler of Egypt. Elisa tells the resentful Araspe to bring "Delia" before them. This is done and Tolomeo rapturously declares his love to Seleuce. She, in order to protect Tolomeo pretends she doesn't know what he is talking about, while in typical operatic fashion voicing her inner thoughts in parenthesis; how this deception is painful to her and she longs for her husband.
Tolomeo reiterates that he cannot love Elisa and she rages at this. Tolomeo leaves and Alessandro enters, reiterating his love for Elisa. Elisa claims that the only way she can love him in return is if he murders his brother. Seleuce sings another lament and Tolomeo echoes her words in the background. Araspe bursts onto the scene and tries to rape Seleuce. Tolomeo can't bare the sight and rushes to defend his wife. He reveals their true identities, and Araspe (the baritone) sings ruggedly of how he will punish the lovers. The couple are left alone at the end of act two and touchingly sing synchronised for the first time of how their love for one another will doom them both.
[edit] Act 3
Alessandro has a letter positing the death of Cleopatra. He says she has paid the price for her cruelty. Somehow Araspe interprets Alessandro saying he wants to go home to Egypt with Tolomeo as meaning he wants his brother slain, but wants someone else to do it. Araspe, of course, thinks himself the very man for the job and delights in avenging the jealousy he feels.
Elisa forces Seleuce to cede Tolomeo to her, saying he'll die otherwise. Tolomeo rejects Elisa once more. She says if he is so brave and intent on rejecting her, then he should drink some poison. This he does. He describes the effect the poison is having, and then, apparently, dies. Alessandro comes to the desperate Seleuce in the remotest part of the wood and promises to reunite her with Tolomeo. Araspe triumphanly reveals the body of Tolomeo to Alessandro. He is sure that Seleuce is his but Elisa reveals the potion was actually a sleeping draught and she will torture Seleuce and put her to death. At this point Tolomeo wakes up and Alessandro presents Seleuce to him. Husband and wife are reunited. The opera ends with a joyous quartet expounding that when suffering turns into joy, all can be forgiven.
[edit] Style
The opera shares in the distinct rhythms and style of the Baroque era. In the orchestra the harpsichord and the first violin are prevalent. However, its genius comes in the characterful way the protagonists are described by the music. Tolomeo is melancholy and downtrodden and in a minor key. Elisa is flirtatious and spirited. Alessandro has a very beautiful tone, indicating that he is a positive force.
Arguably by far the most sympathetic character is Seleuce. One imagines the plaintive song of a pastoral Nymph who has lost her lover, a radiant youth. Especially when she is alone on the beach and dejected she holds notes that bring a tear to the eye, quite literally. Her line is always lovely, pure and devoted like the virtuous woman she is.
Araspe has forceful music and is bullish.
Maybe not quite up there with Alcina and Giulio Cesare but certainly worthy of comparison and as poignant (despite a few unlikely plot features!).
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[edit] References
- Dean, Winton (2006), Handel's Operas, 1726-1741, Boydell Press, ISBN 1843832682 The second of the two volume definitive reference on the operas of Handel
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