Handel’s ‘Ariodante’: A Highlight of Opera Seria

The composer’s opera tells a compelling story with rich, expressive music.

George Frideric Handel, 1726, attributed to Balthasar Denner. Handel composed "Ariodante," a leading example of Baroque opera. Public Domain

In the early 1700s, the British public couldn’t get enough of Handel. Born George Frideric Handel (1685–1759), the German-British composer spent the majority of his career in London. There, he became a pioneer in the opera seria genre, a genre of Italian opera characterized by elaborate arias crafted for the era’s famous virtuoso singers.

While Handel wrote many famous operas, “Ariodante” is perhaps his most enduring masterwork, showcasing the composer’s ability to balance dramatic storytelling with rich musical expression.

Theatre Royal, Covent Garden, where “Ariodante” was first performed. An engraving in "The Microcosm of London," 1808. Public Domain

A Compelling Narrative

Composed in 1734 to inaugurate the newly established Covent Garden Theatre, “Ariodante” offers a compelling narrative. The opera is based on Antonion Salvi’s work, which was itself inspired by Ludovico Ariosto’s epic poem “Orlando Furioso.”

“Ariodante” has a clear, simple, and linear plot. The story is set in medieval Scotland and tells the tale of Ariodante and Ginevra’s love, the conspiracy to separate them, and their happy reunion. Ariodante and Ginevra love each other. While their union is blessed by Ginevra’s father, the King of Scotland, it is threatened by the villainous Duke Polinesso, who plots to marry Ginevra and take the throne.

With Ginevra’s maid Dalinda, Polinesso devises a treacherous plan to separate the happy couple. Disguised as Ginevra, Dalinda admits Polinesso into her chamber, deceiving Ariodante into believing his that his beloved is unfaithful. Devastated, Ariodante throws himself into the sea. Upon hearing of his demise, Ariodante’s brother, Lurcanio, accuses Ginevra of unfaithfulness, prompting her anguished protestations of innocence. Dalinda encounters the Ariodante, who survived, in the woods, returns to the castle, and reveals the truth. Lurcanio challenges Polinesso to a duel, and Polinesso dies. The kingdom rejoices at the lovers’ reunion and the restoration of justice.

The dramatic structure in “Ariodante” shows the energy of the opera seria genre. While the first act celebrates the love between Ariodante and Ginevra, the true action unfolds in Acts II and III, which lead both protagonists into tragedy and then a happy resolution.

Shakespeare’s 1600 play, “Much Ado About Nothing” inspired the intrigue of Polinesso’s deception (a character in the play pretends to violate a lady’s virtue). The characters’ true intentions are further revealed through Handel’s music.

Dalinda disguised as Ginevra admits Polinesso to her bedroom, engraving by Gustave Doré. Public Domain

Rich Expressive Music

“Ariodante” is renowned for its beautiful and expressive music. Handel’s unique use of melody and orchestration throughout this opera highlights his capacity to portray characters and convey powerful emotions.

In this opera, music serves to move the action and reveal the true intentions of its characters. In Act I, Ginevra expresses her love for Ariodante in the graceful and jubilant aria “Charm, flattery, and vivacity” (“Vezzi, lusinghe, e brio”). This later erupts into a fiery aria of indignation when Polinesso tries to seduce her, “Horrible in my eyes” (“Orrida agli occhi miei”).

Ariodante joins her, and the lovers sing a tender duet, which is abruptly interrupted by the king’s arrival. Following the king’s blessing of their union, Ariodante and Ginevra embark on virtuosic arias brimming with euphoria, celebrating their impending happiness. However, unbeknownst to them, a sinister plot unfolds in the shadows. Polinesso, through two menacing arias, including “When fraud is cloaked” (“Coperta la frode”), unveils the depths of his character and sets the stage for deception and intrigue.

A portrait of Anna Maria Strada, who created the role of Ginevra for Handel's opera "Ariodante," 1732, by John Verelst. Public Domain

Act II is cloaked with a veil of darkness. As Ariodante strolls through the garden, his heart sinks at the sight of his supposed fiancée, actually Dalinda in disguise, welcoming Polinesso into her chambers. Feeling betrayed, Ariodante pours his anguish into the haunting aria “Mock, faithless one” (“Scherza infida”), accompanied by mournful bassoons that echo his turmoil.

Learning of the deception, Ginevra collapses in sorrow, her anguish echoing in the aria “My heart trembles” (“Mi palpita il core”). Wrongly accused, she descends into a despairing lament, teetering on the brink of madness in “My cruel torment“ (“Il mio crudel martoro”).

Act III heralds the dawn of resolution, where justice and love reign supreme amidst Handel’s melodic tapestry. Ariodante, still alive, wanders through the woods, and runs into Dalinda. He confronts her, and she reveals the whole plan. Ariodante understands Polinesso’s schemes in “Blind night” (“Cieca notte”).

At court, the duel between Lurcanio and Polinesso leads to the villain’s confession of guilt before his demise. Ariodante exults in “After a dark and sinister night” (“Dopo notte”), while Dalinda seeks redemption in the duet “Say, hope” (“Dite, spera”). Ariodante and Ginevra reconcile in the triumphant finale, “I long to have a thousand lives” (“Bramo aver mille vite”).

Masterwork

“Ariodante” is recognized as an opera seria masterwork. However, that wasn’t always the case. Despite the compelling narrative and rich expressive music, “Ariodante” laid dormant for over 200 years after its premiere. It was rediscovered and embraced at the Handel bicentennial in 1959.

Opera seria was a predominant form of opera in the late 17th and throughout the 18th centuries, and “Ariodante” exemplifies the musical style associated with the genre. Handel’s opera follows the its conventions, featuring a traditional three-act structure comprised of recitatives and arias, which allows for the exploration of complex emotions and character development. The opera also explores themes of love, honor, betrayal, and redemption, which are common in opera seria. The score features elaborate vocal ornamentation, expressive recitatives, and da capo (repeating a previous piece of music) arias.

“A Man With a Quilted Sleeve” is long believed to be Ludovico Ariosto, 1510, by Titian. Ariosto’s epic poem inspired Handel's opera. Public Domain

Handel’s operatic style in this opera, with his innovative approaches to orchestration, use of recitative, and integration of arias and choruses influenced major operatic composers Mozart and Haydn.

With the revival of the Baroque-era music in the 1950s, the rise of historic performance practices propelled “Ariodante” back onto the stage.  The opera’s iconic arias stand as shining examples of Handel’s talent. His music breathes life into his characters, laying bare their innermost emotions with inspired melodies. In “Ariodante,” the operatic genre’s dramatic fervor shines brilliantly, offering a timeless exploration of human passion and resilience.

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