musical construction—Ariodante (January 8, 1735), and especially Alcina (April 16, 1735).
Bad luck still pursued him, Some gross national manifestations compelled "la Salle" and her French dancers to leave London.[1] Handel gave up the ballet opera. To leave at this moment, if he was to continue the struggle with the theatre, went badly against the grain, and was tantamount to declaring himself vanquished. At the opening of his theatrical enterprise he had saved, so it is said, £10,000. All this was absorbed, and already he was £10,000 more to the bad. His friends did not understand his obstinacy, which seemed about to involve him in complete ruin. "But," says Hawkins, "he was a man of intrepid spirit, and in no ways a slave to mere interest. He raised himself again for the battle rather than bow down to those whom he regarded as infinitely beneath him." If he could no longer be conqueror, still less would he hand the reins to his adversaries. He overcame them—but a little more would have vanquished himself in the same stroke.
He persisted then in writing his operas,[2] of which the series spread out until 1741, marking work after work with a growing tendency towards the opéra-comique and the style of romances[3] so dear to the
- ↑ "La Salle" returned to Paris, where she made her reappearance at the Académie de Musique in August, 1735, in les Indes galantes of Rameau. It is quite remarkable that some pages of this work, such as the superb chaconne at the end, have a character quite Handelian.
- ↑ Atalanta (May 12, 1736), Arminio (January 12, 1737), Giustino (February 16, 1737), Berenice {May 18, 1737), Faramondo (January 7, 1738), Serse (April 15, 1738), Imeneo (November 22, 1740), Deidamia (January 10, 1741).
- ↑ Especially in Serse and Deidamia.
