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- W2015606958 abstract "When we think of English oratorios, we inevitably think of George Frideric Handel. Moreover, we assume that a Handel oratorio is supposed to be sung in a concert setting, unstaged, and performed by professional musicians. Yet it is less widely known [End Page 920] that these conventions developed somewhat by accident—and contrary to Handel's own intentions. In 1718, Handel wrote Esther, his first oratorio in English, and in 1732, a privately staged production of the work was mounted in honor of the composer's birthday. This performance took place at the Crown and Anchor Tavern in London, and the singers included the boy choristers from the Chapel Royal. Pleased with the result, Handel began arranging for a public performance of Esther at the King's Theatre in the Haymarket. The Bishop of London (who also served as Dean of the Chapel Royal) got wind of the plans, however, and raised various objections. Since opera houses were, by his estimation, immoral places, it was unconscionable to allow children to sing there; moreover, he felt it was improper to present a staged production of a sacred work in such a venue. As a compromise, advertisements for Esther, performed By His Majesty's Command, assured the audience that There will be no Action on the Stage (the Daily Journal, 19 April 1732), and Handel employed professional singers only. Unstaged versions of Deborah and Athalia in 1733 followed in the wake of Esther's success, thus cementing the performance tradition of the English oratorio." @default.
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- W2015606958 date "2002-01-01" @default.
- W2015606958 modified "2023-09-27" @default.
- W2015606958 title "The Song of Moses (review)" @default.
- W2015606958 doi "https://doi.org/10.1353/not.2002.0084" @default.
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