Modo Antiquo

Georg Friedrich Handel, Opera Terza

Georg Friedrich Handel
Opera Terza
Complete Performance
A new critical perspectiver based on primary sources

Handel’s Opera Terza was published 1734 in London, but it mostly contains earlier compositions, part of them already used by Handel in some of his important sacred and vocal works: fragments could be found in Amadigi (1716), Ottone (1723), Chandos Te Deum (1718), Queen Anne Birthday Ode (1714), Chandons anthem In the Lord put I my trust (1717-1718), etc. The extreme variety of the instruments make these concerts innovative and different from the traditional form of concerto grosso, even if Handel’s concertante use of the wind instruments could be ascribed to the performing practice of Corelli’s music at the Court of Ottoboni and Pamphili in Rome.

Modo Antiquo, who first realised the reconstruction of Corelli’s Concerti grossi according to the Rome’s practice, offers herewith a new perspective on Handel’s Opera Terza based on the primary literature and situating the concerts in the stylistic and chronological context of the works they are linked with. It results a very lively and theatrical Opera Terza, far away from the later Handel stereotype.

on period instruments
Federico Maria Sardelli

Paolo Pollastri, Simone Bensi

François De Rudder, Paola De Martini

transverse flute
Federico Maria Sardelli

Simone Bensi, Giulia Nuti

solo organ
Giulia Nuti

concert master
Enrico Casazza

Valerio Losito, Michio Isaij, Daniele Del Lungo,
Laura Scipioni, Ana Liz Ojeda, Silvia Rinaldi

Pasquale Lepore, Fulvio Milone

Bettina Hoffmann, Jean-Marie Quint

Nicola Domeniconi

theorbo, cithern, Baroque guitare
Gian Luca Lastraioli

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