SIGN IN to access Harper’s Magazine
1. Sign in to Customer Care using your account number or postal address.
2. Select Email/Password Information.
3. Enter your new information and click on Save My Changes.
Subscribers can find additional help here. Not a subscriber? Subscribe today!
George Frederic Handel, Rodelinda
“Then you should have known Dr. Burney who wrote the history of music. I knew him exceedingly well when I was a young man.” That made Ernest’s heart beat, for he knew that Dr. Burney, when a boy at school at Chester, used to break bounds that he might watch Handel smoking his pipe in the Exchange coffee house–and now he was in the presence of one who, if he had not seen Handel himself, had at least seen those who had seen him.”
–Samuel Butler, The Way of All Flesh ch. xxxvii (1903)
When I first read Butler’s semi-autobiography and all its Handel-obsession (honestly, can it be fair musical criticism to judge every composer on the basis of “how much is he like Handel”?), I thought he was a bit crazy. However, that was back in the days when the Handel repertory I knew consisted of the Messiah, The Water Music, and a handful of concerti. Then I started reading Johnson, Smollett, Goldsmith, Swift, Pope and listening, of course, to their friend Handel. I realized that Butler wasn’t crazy at all. When in London, I’d wind my way to Handel’s house, just off Oxford and Bond Streets, and I’d hunt for operas, the more obscure, the better. After a while Handel becomes a sort of default choice. One listens to other things, certainly, but doesn’t it always start with Handel?
And now Handel has undergone, for nearly a decade, a tremendous revival. His works are performed almost everywhere, including many that hadn’t been heard for a century or more, but prove a delight. The contemporary rediscovery of Handel focuses on a good understanding of the Augustan Age, and that essential rule: never take an artist too seriously, and if the artist forgets to laugh from time to time, shame on him. The performances of the New York City Opera get this right. They do so brilliantly. Still the Met’s recent staging of “Rodelinda” (1725) was magnificent, and that’s my pick for today. This is music for the Age of Scandal, and much worth listening to today. Especially, “Vivi, tiranno!” perhaps the greatest of all Handel arias.
More from Scott Horton:
Conversation — August 5, 2016, 12:08 pm
Sidney Blumenthal on the origins of the Republican Party, the fallout from Clinton’s emails, and his new biography of Abraham Lincoln
Conversation — March 30, 2016, 3:44 pm
Joseph Hickman discusses his new book, The Burn Pits, which tells the story of thousands of U.S. soldiers who, after returning from Iraq and Afghanistan, have developed rare cancers and respiratory diseases.
Amount New York City spends each year on air, bus, and train tickets to send homeless people out of town:
The Laboratory of Neurophenomics described a possible blood test for suicide.“Suicide,” said the laboratory’s director, “is a big problem in psychiatry.”
Beijing set its air-quality target for 2017 at twice the amount deemed acceptable by the World Health Organization.
Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!
"It is an interesting and somewhat macabre parlor game to play at a large gathering of one’s acquaintances: to speculate who in a showdown would go Nazi. By now, I think I know. I have gone through the experience many times—in Germany, in Austria, and in France. I have come to know the types: the born Nazis, the Nazis whom democracy itself has created, the certain-to-be fellow-travelers. And I also know those who never, under any conceivable circumstances, would become Nazis."