Parthenope An Opera As It Was Perform'd At The Kings Theatre For The Royal Accademy[!]. [Hwv 27]. [Full Score] Handel, George Frideric 1685-1759 New Arrivals,Printed Music

Folio. Modern black morocco-backed marbled boards with black title label gilt to upper and titling gilt to spine. 1f. (recto title, verso blank), 1f. (recto "A Table of the Songs," with publisher's catalogue to foot; verso blank), 99, [i] (blank) pp. Engraved throughout. A selection from the opera, including solo arias and a vocal quartet. Named singers includ Strada, Bernacchi, Merighi, and Bertolli. Slightly worn; title browned and with small stains and creases to outer and lower margins. First Edition, first issue. Smith p. 46, no. 1. Hoboken 5, 59. BUC p. 429. RISM H239 and HH239 First performed in London at the King's Theatre on 24 February 1730, with text by S. Stampiglia (first set to music by Manzo in 1699), then modified for Venice and set by Caldara in 1708. Loewenberg col. 165. "Nothing is known of the reception, but it must have been fairly favourable, for Handel revived Partenope in his next season." Dean: Handel's Operas 1726-1741, p. 162. "Apart from Rodelinda . [Partenope] is the only one of Handel's first twenty-five London operas to carry the title of the heroine, not the hero. This is no accident. It would be possible to present Partenope as a feminist opera. Not only is Partenope herself the Queen and sole ruler of Naples; she and Rosmira are far stronger characters than the two leading men, the guilt-ridden Arsace who is under Rosmira's thumb throughout, and Armindo who is too timid to declare his love. This affects the whole climate of the opera, which can be viewed as a psychological study of relations between the sexes seen largely from the woman's point of view. Subtle characterisation is an outstanding feature of the score; that of course was nothing new in Handel. As in all his lighter operas, comedy does not inhibit profundity or near-tragedy. This comprehensive vision of human nature as matter for laughter and tears, often in the same situation, is a quality that Handel shares with Mozart." Ibid., p. 156 "The score, fully figured throughout, contains all the arias of the first version in original keys, the Act II duet, trio, quartet, and final coro, but omits all instrumental movements except the overture, as well as the initial coro, the two ensembles of the battle scene, all recitatives of both types, and the duo fragment 'Per te moro'." Ibid., p. 168 An attractive lifetime first edition of Partenope, Handel's only London opera with a female title character.