of Giulio Cesare, Dall' ondoso periglio is one large musical picture, which expresses in its frame a symphonic prelude, a recitative, the two first parts of an air over the symphonic accompaniment of the opening, a second recitative, then the Da Capo. The scene of Bajazet's death in the last act of Tamerlano is composed of a series of recitatives with orchestra, and of airs joined together, and passes through all the nuances of feeling, forming from one stage to the other a veritable ladder of life. The scene of Admetes' agony at the opening of the opera of the same name equals in profundity, emotion, and dramatic liberty, the finest recitative scenes of Gluck. The "mad scene" in Orlando,[1] and that of Dejanira's despair in the third act of Hercules, surpasses them in boldness of realism, and frenetic passion. In the first, burlesque and tragic elements commingle with a truly Shakespearean art. The second is a mighty foaming river, raging with fury and grief. Neither of these two scenes have any analogy in the whole of the musical theatre of the eighteenth century. And Teseo, Rodelinda, Alessandro, Alcina, Semele, Joseph,
- ↑ In the chain of Recitatives and Airs of all kinds which succeed or mingle themselves with it, with an astonishing freedom reflecting one after another, or even at the same time the contradictory ideas which course through Roland's mind, Handel does not hesitate to use unusual rhythms, as the 5-8 here which gives a stronger impression of the hero's madness.
