George F. Handel

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both proved.

At those times Hamburg, the mercantile capital city of Northern Germany, was well known also for its Gansenmarkt Thater (literally: 'Theatre at the goose market'), which workers were yet trying to create the millenary dream in advance of Goethe by combining Italian creativity with German methodology. And what better even if "oleographic" example can be brought to this aim if not the librettos of the operas represented at the Gansenmarkt Theater between 1700 and 1720 ehich appear to be written in German with the execption of the Italian "belcanto" arias. A Ture master in this mixed and eclectic genre, neglecting the lutheran poetry (preferred by Bach) in favour of the Italian an Viennese writers (Zeno, Pariati, Pasquini etc.) was Reinhard Keiser who, naturally, claimed to be the master to all the new-comers, including Haendel who far from accepting this rule, successfully sought the friendship and maecenatism by Gian Gastone de Medici (1671- 1737) , son of the Grand ...

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oratorios: "Il Trionfo del Tempo e del Disinganno" (lately re-represented in London as "The Triumph of Time and Truth") and "La Resurrezione" played during the Easter of 1708 in the church of San Giovanni in Laterano in Rome. there according to his biographers Haendel also improvised at the organ some of those Concertos which had to be lately included in his Opus IV and VIII. The greatest success ever, "il Sassone"as Haendel would have nciknamed by the Italian opera fans He had to achieve it 120 miles south of Rome, at Naples where the successful 27 replicas of his new opera: "Agrippina" made him to fully "graduate" as an operist. Really Haendel had to be numbered among the most reknowed ...

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