Performance History — Research as Rehearsal

A Performance History of Handel’s Semele

by John Sample

Handel’s Semele is the story of the dramatic love affair between the mortal woman Semele, and the king of Gods, Jupiter. In the story, the love is controversial, as it enrages Jupiter’s jealous wife Juno, and it also leads to Semele’s demise as she attempts to obtain more than what a mortal should be capable of. Like the actual story of Semele, the performance history of the opera was also controversial in nature, both due to scandalous storyline and depictions of lust, and in how Handel actually chose to present the opera. The following essay will look at the performance history and story of Handel’s Semele by first analyzing how the opera was first performed, Handel’s intentions, and what reactions it garnered due to how it was performance and the story, and then discussing how performances of the opera have changed over time along with society reactions.

Handel’s Semele was first performed on February 10th, 1744. It is important to note that Handel did not write Semele. It comes from Congreve’s libretto, but it is notable that Handel decided to make an opera from Congreve’s libretto during and perform it at the time that he did. Although there are some other verses in the opera, the majority of the opera is derived from Congreve’s libretto. The fact that the performance fell during Lent had a big impact on the audience’s reaction to the opera. Namely, many people were offended by the opera. Due to Lent, people were expecting the opera that would be biblical and religious in nature. However, the story of Semele is rather tragic, rather than uplifting and spiritual like many were expecting. Its themes are also about lust and pleasure and ecstasy, none of which are particularly biblical themes. For example, consider the following lines from Congreve’s libretto, that are sung in the opera:

That with a Dream in Shape of Semele,

But far more beautiful,

And more alluring,

He may invade the sleeping Deity;

And more to agitate

His kindling Fire,

Still let the Phantom seem

To fly before him,

That he may wake impetuous,

Furious in Desire;

Unable to refuse whatever Boon

Her Coyness shall require.

To see the above lines sung, here is a performance by the English National Opera. Juno begins singing the above at 10:45: https://www.youtube.com/watch?v=APzCz4sf-X8&ab_channel=eucalyptuspauciflora

In the scene described above, there are multiple layers of wickedness going on that may have upset an audience that was looking for a more religious and uplifting opera. Juno, out of jealousy, is asking someone else to help her murder and deceive another woman by having a god of sleep send lustful thoughts to her adulterous husband. Nothing about the scene is uplifting, and there are plenty of sins depicted in the scene that may have upset an audience who were interested in a different sort of entertainment during lent. Additionally, the language of Congreve’s libretto is explicit in what it is saying, especially for its time period.

Not only was the story of the opera controversial to show during this time, but the way in which the opera was performed also upset some audience members. Although Handel had said Semele was an opera, he presented it “in the manner of an oratorio.” Because Handel wanted to show the opera during Lent, it was required that it had to be performed as an oratorio. An oratorio is a musical work for orchestra and choir that is performed without the use of costumes and sets, and typically had religious themes. Operas were banned during Lent in order to keep Lent free of any potentially “immoral” activities, as they often had stories about sinful concepts.

Handel’s Messiah is a famous oratorio he wrote, and it is typically performed with just an orchestra with a chorus in the background. See the picture below of an oratorio performance of Handel’s Messiah from Calvin University:

However, Semele, in content, with its secular story filled with passion and violence, as well as the fact that it used musical forms from Italian opera such as A-B-A da capo, was probably more suited to be performed as an opera, which typically has sets and costumes to enhance the story telling. See below for a scene from Semele as performed by the Opera Philadelphia.

As one can see, an opera is much more conducive to storytelling, while an oratorio is more somber in setting and similar to how a choir may have performed in a church. So, when the opera was set up as an oratorio, it only added to the confusion and irritation of those who watched it, as they were expecting something religious when it was being performed as an oratorio. In fact, Charles Jennens, who wrote a biography of Handel, actually writes that Semele is “not an oratorio, but a baudy opera.”

However, Handel managed not only to offend those who were expecting a more traditional oratorio, but traditional opera fans as well. Operas were traditionally sung in Italian, so the fact that Handel’s Semele was written in English made some audience members find the production distasteful. The large number of choruses in Semele also upset some of these fans, as this was uncommon during Italian opera of this time. For example, here is a brief large chorus sung in Act 1 of Semele, which adds to the drama of the scene where the vows between Semele and Athamas are ordered to be ceased: https://www.youtube.com/watch?v=ZZ9GsxRmRLE&list=PLCcIic7nTqg4mdqhn4O0VLcAMtqqCLv2d&index=3

However, although the way Handel set up the first performances of Semele offended many, he made no sacrifices to the musical quality of the production, and actually wrote many of the songs pieces to suit the singers who would perform them. One of Handel’s favorite tenors, John Beard, was cast as Jupiter in the production. At this point, John Beard had sung in more of Handel’s operas than any other singer, and he was known for being a particularly expressive singer and actor. Handel wrote the Semele’s most famous aria, “Where’er you walk” for John Beard. A performance by Andreas Scholl is linked here: https://www.youtube.com/watch?v=FENw8ShZnQU&ab_channel=civileso

Another example of this was with Elisabeth Duparc, who played Semele. Duparc was known for having an agile voice which was described as “lark-like,” and she had an aptitude for trills, which Handel was able to show off in the arias he wrote for her such as “Myself I shore adore.” A performance of “Myself I Shore Adore” with its abundance of trills is linked here:” https://www.youtube.com/watch?v=tMFPM1_tEawhttps://www.youtube.com/watch?v=tMFPM1_tEaw

Because the first performances of Semele upset so many people, it only had four performances during Handel’s lifetime. Two in the beginning of the year, and two later in the year in December.

The opera Semele was not performed again until 1925, and then again in 1954. These performances were met with success, and it was picked up by major opera companies including the English National Opera in 1959. In America, it was even performed at Carnegie Hall in 1985. Today, Semele is considered one of the most popular operas and is consistently performed in concerts by opera companies such as the Zurich Opera and Opera Philadelphia.

What may have led to the resurgence of Handel's Semele? The answer is most likely in how it is performed now and a reflection of current audiences. Although people were offended by the content of performance setting and style at the beginning, the music of Semele was always praised. Lord Harewood actually wrote that “the music of Semele is so full of variety, the recitative so expressive, the orchestration so inventive, the characterization so apt, the general level of invention so high that one can only suppose its neglect to have been due to an act of abnegation on the part of opera companies.” This suggests that Semele indeed failed to gain popularity due to the politics and social norms of Handel’s time, rather than any issue with the music.

In current day, audiences are not as bothered by what audiences back in Handel’s time were bothered by. The vast majority of entertainment is now secular, and people are much more open to discussing themes of violence and passions that were once considered scandalous. Congreve’s libretto, considered more profane at the time, would no longer be considered so. Additionally, with so many new means of entertainment and performance, the oratorio versus opera debate is now a non-issue. In fact, because audiences now are more open minded to what entertainment may be, Semele is actually performed in modern day as an opera, with full sets and costumes. Logistically, it is also easy to perform as Handel wrote the opera in the four traditional voices we sing in today: soprano, alto, tenor, and bass. This means there are often singers who are available to sing the parts and substitutions are not required.

However, there have been some performances which make adjustments to the story to make it more relevant to a modern audience. Although the general themes of desire and mortal vs immortal are still evident, when the Opera Philadelphia performed Semele back in September 23, 2019, the story was modified to have Semele be a cult victim member, and forced into various marriages and kidnappings. The adaptations of the Opera Philadelphia to better appease the audience this time rather than knowingly offend was a different strategy than what Handel employed, but it was able to work because the audience was more open minded. Additionally, because Semele is now performed as the opera it was always intended to be, it allows for the performance to be more expressive. For example, the costume director for Opera Philadelphia discussed how they were able to use costumes to add more depth to their depiction of the performance. The mortals had more restrictive and dark clothing, while the immortals had lighter and more free-flowing clothing, highlighting the differences between the two. Semele, in this version, is in a dark and restrictive cult, while the immortals are always free and in a divine world free of mortal troubles.

The performance history of Handel’s Semele is a lesson in itself of how societal trends have evolved over time. At first, due to the fact that Semele broke societal norms in terms of its content and how it was performed, it was rejected by society. However, because of its musical brilliance, it was able to revive among a new audience in a world where norms have shifted.

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