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Updated: June 29, 2025
For the moment Handel remained in the background; the next opera was a pasticcio, that is, an opera made up of favourite songs from various operas stuck into any convenient libretto. On February 2 there came out the new opera of Handel, Poro, which turned the tide once more in the composer's favour. Later on, Rinaldo and Rodelinda were revived, but the season came to an early end on May 29.
A significant indication of the new popularity which Handel had acquired was the production of a pasticcio, at the Italian Opera in November 1747, made up chiefly from the operas of Handel; but the experiment was not repeated.
Here are the churches of Louis XIII., heavy, squat, thickset, crowded together, loaded with a dome like a hump. Here is the Mazarin architecture, the wretched Italian pasticcio of the Four Nations. Here are the palaces of Louis XIV., long barracks for courtiers, stiff, cold, tiresome.
Terpsichore, which includes songs and a chorus, served as prologue to Il Pastor Fido. The next opera was Oreste, a pasticcio made up by Handel himself from his own works; on January 8, 1735, he produced his Ariodante, an opera over which he had spent the unusually long time of ten weeks. The score was begun on August 12 and finished on October 24.
It was then that Austria first put her finger into the Italian pasticcio, where she kept it so many centuries. But the Austrian governor whom the Duke set over the Veronese made himself intolerable, the Austrian governor always does, and they drove him out of the city. On this the Duke turns about, unites with Boniface, takes Verona and sacks it.
The distinguished pianist, in further pleasant gossip about Cherubini, tells us of hearing the first performance of a pasticcio opera, composed by Cherubini, Paër, Berton, Boïeldieu, and Kreutzer, in honor of the christening of the Duke of Bordeaux.
For several years after the subscription of the nobility had been exhausted, our composer, having invested £10,000 of his own in the Haymarket, produced operas with remarkable affluence, some of them pasticcio works, composed of all sorts of airs, in which the singers could give their bravura songs.
In 1824 Mme. Catalani again filled an engagement in England, making her reappearance in Mayer's comic pasticcio, "Il Fanatico per la Mu-sica," the airs of which had been expressly selected for the display of her vocal tours de force.
His masses were pasticcio work made up of pieces selected from his operas and other compositions. This could be easily done, for music is arbitrary in its associations. Love songs of a passionate and sentimental cast were quickly made religious by suitable words.
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