A kind of dramatic cantata, the work was commissioned by the Duchess Donna Aurora Sanseverino for the wedding of Tolomeo Saverio Gallo, Duke of Alvito, and Beatrice Tocco di Montemiletto, Princess of Acaja and the Duchess’s niece. Its Italian libretto was written by Nicola Juvo, the Duchess’s secretary and adviser, and is the prototype for Handel’s 1718 English-language masque Acis and Galatea, although Handel borrowed little from the music of the serenade when preparing the masque (he took care to make the villain, the one-eyed giant (Cyclops) Polyphemus, half-nice, with a trademark comic aria that requires virtuosity: “O ruddier than the cherry”).
In the serenade, the role of the Cyclops entails actions with fatal consequences for Acis, and is distinguished by its range and the vocal agility required; it rises from D below the bass staff to A above it – and this in its satirical, ponderous buffa aria “Fra l’ombre e gl’orrori”; it was probably sung at the premiere by the bass Antonio Manna, who sang in the court chapel in Vienna.
Aci, Galatea e Polifemo (HWV 72) is a serenata for three voices by George Frideric Handel. It was first performed at Naples on 19 July 1708; the completed score is dated to 16 June 1708.
A sort of dramatic cantata, the work was commissioned by Duchess Donna Aurora Sanseverino for the wedding of Tolomeo Saverio Gallo, Duke of Alvito, and Beatrice Tocco di Montemiletto, Princess of Acaja and the duchess’s niece. Its Italian libretto was by Nicola Giuvo, secretary and adviser to the duchess, and it prefigures that of Handel’s 1718 English-language masque Acis and Galatea, although Handel drew little on the music of the serenata when he prepared the masque (he did take care to make the villain, the one-eyed giant (cyclops) Polyphemus, half-lovable, with a signature comic aria demanding virtuosity: “O ruddier than the cherry”).
In the serenata the cyclops’ role entails actions with lethal consequences for Aci and is notable for its range and the vocal agility it requires; it rises from the D below the bass staff to the A above it – and that in its satirical, ponderous buffa aria, “Fra l’ombre e gl’orrori”; it may have been taken at the premiere by the bass Antonio Manna, who sang at the court chapel in Vienna.