the new King, George II, his Coronation Anthems,[1] September 11, 1727.[2] He returned to his plans for the English oratorios.
But he was not yet sufficiently sure of his ground, nor of the public taste, to justify him in completely throwing over the Italian Opera, for he realized more than before the resources of the people and what he could do with them. Besides, the collapse of the London Academy of Opera had not touched his personal prestige. He was regarded, not only in England, but also in France, as the greatest man of the Lyric Theatre.[3] His London Italian operas became known all over Europe.
- Flavius, Tamerlan, Othon, Renaud, César,
Admete, Siroé, Rodelinde, et Richard,
Éternels monumens dressés à sa mémoire,
Des operas Romains surpassèrent la gloire,
Venise lui peut-elle opposer un rival?[4]
- Flavius, Tamerlan, Othon, Renaud, César,
One can well understand, then, that Handel was tempted by the desire of taking on his own shoulders, without the control which hampered him, the complete enterprise of the Italian Opera. At the end of the summer of 1728 he went to Italy in search of new
- ↑ The Coronation Anthems comprised four hymns, of which we do not know the exact order. Handel arranged for their presentation at Westminster by forty-seven singers, and a very considerable orchestra.
- ↑ Riccardo I, played in November of the same year (see p. 81), was also a national opera, dedicated to King George II, and celebrating, apropos of Richard Coeur de Lion, the annals of Old England.
- ↑ See page 48, note 4, the opinions held by Séré de Rieux.
- ↑ Séré de Rieux: les Dons les enfants de Latone; la Musique et la Chasse du cerf, poems dedicated to the King, 1734, Paris, p. 102-3.
