Opera in 3 acts
Libretto after Silvio Stampiglia
World premiere February 24 1730, King’s Theatre, London
Introductory talks (in German) begin 30 mins before curtain up in the Bockenheimer Depot and appear here shortly after opening night
Sung in Italian with German surtitles
Queen Partenope has ruled and defended her city of Naples for ages. A young man, calling himself »Eurimene«, appears at court claiming to have been shipwrecked. Arsace, the Queen’s lover, is baffled because »Eurimene« bears a striking resemblance to his fiancée Rosmira, who he deserted for Partenope. Shy Armindo loves the Queen too, but doesn’t dare tell her.
»Eurimene« confides to flustered Arsace that »he’s« Rosmira, who has tracked down her unfaithful fiancé and wants revenge. After Arsace professes his love for Rosmira she makes him promise to keep her true identity secret from the others.
Ormonte, the Queen’s confidant, reports that Emilio, Prince of neighbouring Cumae, is arming for war against Partenope. But he only wants to impress her with his military prowess and marry her for political reasons. Instead of getting drawn into this, the Queen promptly declares war on him. She appoints Arsace to command her troops, but »Eurimene« (alias Rosmira) demands he be given the military leadership post. After a squabble between her jealous admirers Partenope takes command herself – for tactical reasons.
Arsace tries in vain to dissuade »Eurimene«, whose true identity he knows, from going into battle. Armindo, who‘s more than fond of Partenope, is plagued by fear that »Eurimene’s« another suitor for the Queen’s hand and might be successful. But »he« assures him that he’s chasing different goals and advises Armindo to confess his love to the Queen at last.
The battle begins. Armindo rescues Partenope. Arsace’s busy trying to protect »Eurimene«. Emilio’s arrested. Everyone claims victory for their own. »Eurimene« claims their success is down to him and challenges Arsace to a duel. »He« loses favour with the Queen and must justify himself.
Part II Arsace tries in vain to dissuade Rosmira from taking revenge on him. She seeks an audience with the Queen as »Eurimene«, to unravel a big secret. Arsace’s afraid that Rosmira will make his infidelity known. He begs his fiancée for reconciliation, but Rosmira refuses. He sinks into emotional chaos.
During his audience with Partenope ‘Eurimene’ explains that he’s there on behalf of Arsace's fiancée Rosmira to tell the queen of his infidelity and fight a duel with him in Rosmira’s name. Disappointed by Arsace, Partenope turns from him to her rescuer Armindo. Arsace attempts in vain to prevent a duel with his fiancée, so exercises his right to fight bare-chested. ‘Eurimene"/ Rosmira is forced to defer and reveal her true identity. Partenope feels for the engaged couple and gives her blessing for Rosmira and Arsace’s wedding. Then she marries Armindo, offers Emilio her friendship, and carries on ruling her city.
Lust or frustration? Fighting or reconciliation? A three-way battle for the hand of a Queen.
A shrewd politician, a jilted bride disguised as a man, and three upper crust, eager to marry gentlemen make for all kinds of confusion in Handel’s tragicomedy. The libretto drew on texts by the Roman poet Silvio Stampiglia, who prefered writing silly stories and biting comedy to moralising plots and pathos. His work’s got nothing to do with Partenope, the last Siren Odysseus encountered on his Odyssey. In Handel’s opera she’s foundress and Queen of Naples, who’s being courted by three men. The first, shy Armindo, waits a long time before declaring his love for the Queen. The second, Emilio, arrives with his army, ordering the Queen to choose between marriage or war. Partenope beats him in battle, has him arrested, offering him friendship instead.
The Queen’s craftiness in sending these two suitors packing generates irresistibly funny situations, but she can't control Arsace, the one she likes best: The Queen’s unaware he’s engaged to marry Rosmira, who arrives at court disguised as Prince Eurimene to win her beloved back. She humiliates two-timing Arsace, keeping her true identity secret until the last minute.
Unexpectedly, somewhat reserved Armindo emerges as the winner in this turbulent war of love, who adds a good dollop of melancholy to Handel’s thrilling sequence of arias, ambiguous wit and breathtaking tempo.
