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² The translation in the original libretto, Admeto, Re di Tessaglia (London, 1727), reads: Yes, my life, my loveliest Dear, Thus I grasp and clasp thee here Close to my panting Heart.Google ScholarHarris, Ellen T., ed., The Librettos of Handel's Operas, 13 vols. (New York, 1989), V, 155.Google Scholar

³ Senesino, for instance, as LaRue notes (p. 115). One of Senesino's ‘vocal strengths’, the motto opening (p. 111), is also typical of Durastanti (p. 140).Google Scholar

⁴ Milhous's, Judith review of Handel and His Singers in Notes, 53 (1996), 458.Google Scholar

⁵ For example: ‘Ferite, uccidete’ should not occur in the Lalli-Gasparini column of Table 4.1 (p. 85); ‘Se vive in te’ in Table 4.1 becomes ‘Se teco vive’ in Table 5.1 (p. 109) with no explanation; in discussion of Cuzzoni's and Faustina's roles in Alessandro (pp. 145ff.), we only learn who played which character in Table 7.4 (p. 160); LaRue's own article (cited p. 133 n. 10) is not included in the bibliography. LaRue does not adhere to his policy on footnoting textual sources (p. 14); Mattheson's quote on pastoral, given in a footnote (p. 170 n. 22), is repeated in the text (p. 178); material on page 91 is repeated verbatim on page 108; the index does not include secondary sources, and a sampling of other references reveals lacunae.Google Scholar

⁶ Three figures, three tables and nine musical examples take up approximately 28 of the 63 pages in this chapter.Google Scholar

⁷ Dean, Winton and Knapp, John Merrill, Handel's Operas, 1704–1726 (Oxford, 1987, rev. edn 1995).Google Scholar

⁸ Strohm, Reinhard, Essays on Handel and Italian Opera (Cambridge, 1985), 102.Google Scholar

⁹ Pope's note, The Dunciad, ed. Sutherland, , 345.Google Scholar

¹⁰ See, for example, Dean and Knapp, Handel's Operas, 8.Google Scholar

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