Venedig, Händel, Grimani: weitere Überlegungen zum Kontext
von Agrippina
Handel’s opera Agrippina deserves to be viewed in the light of the Italian,
specifically the Venetian opera business. The essay, partly indebted to research of
Harris S. Saunders and Juliane Riepe, anticipates a larger enquiry of the author
in the collective volume Il dramma per musica a Venezia nell’epoca di Vivaldi
(forthcoming in Quaderni Vivaldiani, Istituto Italiano Antonio Vivaldi). It addresses
three topics: 1. The role of Agrippina in the series of productions of the
Grimani family and their rivals. Agrippina fulfils particular patterns that had recently
evolved at the S. Giovanni Grisostomo theatre, for example in respect to the
topic and style of the drama. 2. The attribution of the libretto to Vincenzo Grimani
has unreasonably been doubted, given its anchorage in Venetian chronologies involving
the collaboration of Apostolo Zeno. Comparison with Grimani’s libretto
Orazio (Venice 1688) further confirms his authorship. 3. The chronology of Handel’s
operas written in Italy, as recently revisited by Ursula Kirkendale. If, as she
proposes, there was a performance of Agrippina in Venice before the one of carnival
1709-1710, it could at best have been in 1708-1709; Mainwaring’s mention of
an ad hoc performance in an otherwise closed theatre might be explained by Don
Giller’s suggestion of the Teatro SS. Giovanni e Paolo. Yet Mainwaring’s other
assertions are unlikely, as is Kirkendale’s proposal to back-date the Florentine
Rodrigo to earlier seasons.