l Internazionale

Proserpine was staged at the Théàtre de l’Opéra on the evening of Tuesday 28th March 1803. During the première the enthusiasm of Paisiello’s supporters was drowned out by the demonstrations of disapproval of his opponents. Napoleon, who was in the audience, did not intervene but made a public declaration expressing his appreciation of this tragédie lyrique. Yet the opinion of the First Consul did not achieve the desired effect and the opera ran to only twelve more performances. Examining the opera more closely in a historical context, Paisiello’s Proserpine reveals eighteenth-century characteristics but at the same time looks forward to the nineteenth century, pre-announcing orientations that would be immediately developed by musicians of the following generations.

As with the majority of Handel’s stage works, Rodelinda is composed in a purely Italian style. The libretto was adapted by Nicola Haym from a previous version by Antonio Salvi. In line with the norms for Italian opera, it consists of solo da capo arias interspersed with secco recitatives and, occasionally, with accompanied ones. The undoubted protagonist of the opera is Rodelinda, for whom the composer wrote eight of the original score’s thirty-two numbers, as well as the duet with Bertarido. Rodelinda’s characterisation is a masterpiece of psychological and musical insight, beginning with the entrance aria, Ho perduto il caro sposo.