The Politics of Opera in Handel's Britain examines the involvement
of Italian opera in British partisan politics in the first half of
the eighteenth century, which saw Sir Robert Walpole's rise to
power and George Frideric Handel's greatest period of opera
production. McGeary argues that the conventional way of applying
Italian opera to contemporary political events and persons by means
of allegory and allusion in individual operas is mistaken; nor did
partisan politics intrude into the management of the Royal Academy
of Music and the Opera of the Nobility. This book shows instead how
Senesino, Faustina, Cuzzoni and events at the Haymarket Theatre
were used in political allegories in satirical essays directed
against the Walpole ministry. Since most operas were based on
ancient historical events, the librettos - like traditional
histories - could be sources of examples of vice, virtue, and
political precepts and wisdom that could be applied to contemporary
politics.
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