Thesis (M.A.)--Case Western Reserve University, 2008. / Department of Music History. Includes bibliographical references. Available online via OhioLINK's ETD Center.

Thesis (D.M.)--Northwestern University, 1998. / Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4142. Adviser: Richard Alderson.

There is an increasing interest in the operas of Georg Frideric Handel, both from a scholarly perspective, and that of the modern, professional opera company. Producers of Handelian opera have moved away from productions similar to those staged in Halle, Germany, in the 1920s, which featured vastly reduced recitative and stripped the da capo aria to a single statement of the 'A' section. Modern productions have restored Handel's musical text, and in addition have attempted to recreate the original dramatic conditions and ethos of the work. The problem faced by the Halle producers still exists, however. How does the modern producer satisfy the expectations of the modern audience, while remaining faithful to the intention of the composer and the original production. This paper will investigate a possible approach to staging Handelian opera, with specific reference to the 'Mad Scene' from Handel's opera Orlando. Included in this examination will be a discussion of eighteenth-century British staging practices. These elements will be considered in the light of stage design and scenic practices of the period. / Arts, Faculty of / Music, School of / Additional material: 1 videocassette (Koerner Library). / Graduate

This thesis analyzes the organ concertos of George Frideric Handel

George Frederick Handel is one of the most important composers of oratorio in musical history. Between the year 1704, when he composed his Passion According to Saint John, and 1757, the year of his last oratorio, The Triumph of Time and Truth, Handel composed twenty nine works which have at one time or another been classified as oratorios. Only those works that are considered by all authorities as oratorios and are based on the Old Testament or Jewish history are included in this study. Handel writes solo roles for the tenor voice in all of the sixteen oratorios included in the study with the exception of the revision of Esther and in Deborah. The musical and dramatic function of the tenor solo roles varies with each oratorio. The significance of the tenor roles fluctuates with the dramatic impact of the story related by the oratorio and is completely dictated by it. Handel used all solo voices with concern for the best over all theatrical effect foremost in mind. To place in proper perspective his use of the tenor voice in relation to the other solo voices, such factors as the musical and dramatic importance of the tenor roles, character types portrayed, and the style and ranges of arias, should be considered.

The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding arias are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today.

Thesis -- Departmental honors in Music. / Bibliography: ℓ. 88-92.

Thesis (Ph. D.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 164-172).

The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.

The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.