Oratorio, a genre that Handel later shaped significantly in England, developed in Italy during the second half of the 17th century within the context of Catholic devotional music.
Compositional Technique
The libretto for "La Resurrezione" by Carlo Sigismondo Capece juxtaposes the quiet, reflective exchanges of New Testament figures with the violent interactions between the Angel and an enraged Lucifer.
Historical Context
The patron of "La Resurrezione," Francesco Maria Ruspoli, was a marquis who spared no expense for the 1708 performance, which was considered extraordinary in every respect.
Composition History
Handel's oratorio "La Resurrezione" was first performed on Easter Sunday, April 8, 1708, at the Palazzo Valentini in Rome.
Compositional Technique
Handel's "La Resurrezione" features a rich and varied scoring, including arias with unison violins, concertante trumpets and oboes, solo violin, and an ensemble of recorders, muted violins, and viola da gamba.
Composition History
Handel composed "La Resurrezione" in 1707, a year after writing his first oratorio, "Il trionfo del tempo e del disinganno."
Historical Context
During the 1708 premiere of "La Resurrezione" in Rome, female singers were barred from public appearances, yet Margherita Durastanti sang the part of Mary Magdalene, leading to a papal reprimand for the marquis.
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