Opera in 3 acts
Libretto by Nicola Haym
World premiere May 14 1723 King’s Theatre, Haymarket, London
Sung in Italian with German surtitles.
Introductory talks begin 30 mins before curtain up in the Bockenheimer Depot, and will be available here, and everywhere podcasts can be found, shortly after opening night
People are embroiled in love affairs and senseless duels. One dies. Two couples marry. The King looks on, enjoying himself. Ruling – now and then.
A story packed with jealousy, ambition and wounded pride plays out at King Flavio’s court: a lively and unusual mixture of motifs from knightly tales – with no derring-do at all. While Handel’s protagonists bring noble knights und more serious characters from opera seria to mind they, unlike their predecessors, seldom manage to get things right. Politics is rarely discussed at court. They’d rather talk about social advancement and power. The King amuses himself, but not willingly with his wife, who doesn’t sing a note the whole way through. Flavio’s hoping to seduce Teodata, a lady-in-waiting who’s in love with his adjutant Vitige. A second pair of lovers, Emilia and Guido, have problems too. Their fathers are squabbling over the vacant post of governor. This ends with a boxed ear then a duel. Guido, fighting on behalf of his father, kills his future father-in-law. Can Emilia still love her father’s killer? The King’s not bothered by such mishaps, remaining calm despite considerable turmoil. He pits his subjects off against each other, divides and rules, enjoying his complacent kingdom.
When Nicola Haym wrote the libretto, using bits from other libretti, he retained Venetian irony and incorporated Pierre Corneille’s tragedy Le Cid, a son’s revenge for his insulted father. He also invented rivalry between two feeble, power hungry courtiers, providing moments of stand-up-comedy. Composed for the great singer personalities of the day, Handel almost lampoons them in Flavio, his most successful opera seria for London. His music fascinates with arias, carefree dance rhythms, situations commentated on with humour and characters’ quirks exposed with elegant playfulness. Handel unmasks deceitful power structures with great sophistication. Flavio provides entertainment and virtuosic vocal artistry while taking a critical look at the darkest depths of decadent hierarchies.
