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Updated: May 18, 2025
As Mainwaring tells this story just before speaking of Amadigi, it has generally been assumed that this episode took place in the summer of 1715, but more recently it has been ascribed to 1717, on the strength of a long account of a royal water-party, with music by Handel, given in the Daily Courant, a newspaper of the period.
The King went to see his new opera, Amadigi, which came out late in the season of 1715, but refused to pardon him, until Handel's old Venetian acquaintance, Baron Kielmansegge, now Master of the Horse, devised an ingenious expedient for surprising the King into clemency.
Torquato Tasso, born at Sorrento, March 11, 1544, was the son of Bernardo Tasso by Portia de Rossi, a lady of a noble Neapolitan family. His father was a man of some note, both as a political and as a literary character; and his poem "Amadigi," founded on the well-known romance of Amadis de Gaul, has been preferred by one partial critic even to the "Orlando Furioso."
But Gay does not seem to have met Lord Burlington until 1715, and Pope mentions him first in 1718. It is thought that Handel's little opera, Silla, may have been written for a private performance at Burlington House in 1714, and the dedication of Amadigi, Handel's next opera , indicates that the music was composed within his patron's own walls. One of Handel's favourite haunts in London was St.
In this respect the Amadigi may be said to form an interesting transition from the irregular romance of Ariosto to the symmetrical epic of his own son. The son's poetic path was thus prepared, and the mould in which his immortal work was cast was formed by his father. The fortunes of the two poets read remarkably alike.
Bernardo Tasso, author of many elegant lyrics, of some volumes of letters, not uninteresting but too florid, and of the Amadigi, an epic romance now little read, was a man of small property, very honest and good-hearted, but restless, ambitious, and with a turn for expense beyond his means.
Amadigi, produced May 25, 1715, did not have many performances, as the season ended on July 9, but it attracted considerable attention, partly because that old favourite, Nicolini, sang in it again, and also on account of its elaborate staging. "There is more enchantment and machinery in this opera," says Dr.
Torquato’s father, Bernardo Tasso, himself a poet of no mean calibre and the composer of a scholarly but somewhat prolix work, the Amadigi, formed for many years a prominent member of that brilliant band of literary courtiers within the castle of Vittoria Colonna, the Lady of Ischia, of whom we shall speak more fully in another place.
Burney, "than I have ever found to be announced in any other musical drama performed in England." During the following season, which did not begin until February 1716, both Rinaldo and Amadigi were revived, but Handel produced no new opera.
They would have passed into utter oblivion had not Tasso himself, by condescending to reply to them, given to them an immortality of shame. Not contented with abusing his poem and himself, they also attacked his father, asserting that his Amadigi was a most miserable work, and was pillaged wholesale from the writings of others, and thus wounded the poet in the most tender part.
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