Scipione impasticciato: Performing, Researching and Reviving London operas from 1730–1731

Strohm, Reinhard

Scipione impasticciato: Performing, Researching and Reviving London operas from 1730–1731

Musicology Today

Volume 18 (2021): Issue 1 (December 2021)

By:

Reinhard Strohm

Open Access

|Dec 2021

Figures & Tables

Insertions in Scipione 1730 (all by Handel)

I.2 Lusinghe più care (Armira) < Alessandro	ANTONIA MERIGHI
I.4 Tra speranze (Scipione) < Rodelinda	ANNIBAL PIO FABRI
II.1 Non m’inganna (Ernando) < Lotario	GIOVANNI COMMANO
II.2 Dimmi crudele amore (Scipione) < Muzio Scevola	ANNIBAL PIO FABRI
II.3 Di notte il Pellegrino (Berenice) < Riccardo Primo	ANNA MARIA STRADA
II.4 Con un vezzo, con un riso (Armira) < Flavio	ANTONIA MERIGHI
III.1 Con lei volate (Lelio) < Muzio Scevola	FRANCESCA BERTOLLI
III.4 Tutta brillante i rai (Berenice) < Riccardo Primo	ANNA MARIA STRADA
III.6 Pregi son d’un alma (Scipione) newly composed	ANNIBALE PIO FABRI
III.7 Se vuoi in amor (Armira) < Muzio Scevola	ANTONIA MERIGHI
III.9 Dopo il nemico (Scipione) newly composed	ANNIBALE PIO FABRI
III.9 D’ogni crudel martir (Berenice, Lucejo) < Rodelinda	ANNA MARIA STRADA, FRANCESCO BERNARDI detto SENESINO
III.9 Sì, sarà più dolce amore (Coro) < Muzio Scevola	(TUTTI)

Arias sung by Annibale Pio Fabri in Ormisda and Venceslao

Ormisda

‘Se non sa qual vento il guida’. Sung by Fabri (Arsace) in Rosmira, Perugia, July 1725 (Roberts, p. 177). Also sung by Fabri (Santippo) in anon., Marco Attilio Regolo, Bologna 1724, II.12, and by Giuseppe Ristorini (Unulfo) in Passotti (?), L’amor costante, Florence, Teatro Cocomero, carnival 1725.

‘Se non pensi al dovere di figlio’. Provenance still unidentified.

‘Sì, sì, lasciatemi’. Sung by Giovanni Paita in Orlandini, Lucio Papirio, Bologna 1718; sung as ‘Amor, deh lasciami’ by Luigi Antinori in anon., Elpidia, London 1725 (music concordant), and as ‘Sì, sì, lasciatemi’ by Fabri (Arsace) in anon., Rosmira, Perugia, July 1725 (Roberts, p. 177). Also sung as ‘Sì, lusingatemi’ (music concordant) by Fabri (Alceste) in Leo et al., Arianna e Teseo, Naples 1721 and 1722.³³

‘Ti sento amor di padre’. Still unidentified: text in Zeno, Alessandro Severo, but music not concordant with Lotti 1717, Mancini 1718, nor Orlandini 1723.‘Speranze del mio cor’ (replacement for ‘Ti sento amor di padre’): sung by Fabri in Giacomelli, Zidiana, Milan 1728.‘Un lampo di speranza’ (another replacement for ‘Ti sento amor di padre’, see C. Timms, ‘Handelian and Other Librettos in Birmingham Central Library’, Music & Letters, vol. 62, no. 2, 1984, pp. 141–167 at 148): probably concordant with ‘Un lampo è la speranza’, sung by Senesino in Handel, Admeto 1727 (I.7) (Strohm, ‘Ormisda’, p. 374).

Venceslao

I.3 ‘Se tu vuoi dar leggi al mondo’. Zeno's original text ‘Se vuoi dar legge al mondo’ is in G. M. Capelli, Venceslao, Parma 1724; but the added syllable ‘tu’ in 1731 (making the line an ottonario instead of settenario) suggests that this is a parody of a different aria.

I.9 ‘Ecco l’alba d’un giorno sereno’. Also sung by Fabri (Raimondo) in anon., L’ingratitudine castigata, Florence 1726 (I. 10).

II.3 ‘Nel seren di quel sembiante’. Not musically concordant with Capelli, Venceslao, Parma 1724. Probably sung by Antonio Barbieri in Act III of Venceslao, Venice 1722 (Roberts, p. 177), with music by Antonio Pollarolo (Strohm, ‘Ormisda’, p. 380). Also sung by Ristorini (Unulfo) in Passotti (?), L’amor costante, Florence 1725.³⁴

III.7 ‘Balenar con giusta legge’. Probably sung by Antonio Barbieri in Act V of Venceslao, Venice 1722 (Roberts, p. 177), with music by Capelli (Strohm, ‘Ormisda’, p. 380).