Georg Friedrich Handel. Lotario: in tre atti, HWV 26. Herausgegeben von Michael Pacholke. Kassel: Barenreiter, 2003. (Hallische Handel-Ausgabe, Ser. II: Opern, Bd. 23.) [Editorial policy, pref., in Ger., Eng., p. vi-xv; facsims., p. xvi-xx; Libretto-Druck (London, 1729), p. xxi-xl; Ger. trans. of text, p. xli-liv; score, 193 p.; Krit. Bericht, p. 195-246. Cloth. ISMN M-006-49785-6; BA 4074. [euro]210.] George Friedrich Handel. Lotario: in tre atti, HWV 26. Libretto: Giacomo nach Antonio Salvi; Deutsche Ubersetzung von Gerhard Muller; Klavierauszug nach dem Urtext der Hallischen Handel-Ausgabe von Andreas Kohs. Kassel: Barenreiter, c2004. [Ensemble, 1 p.; pref. in Ger., Eng. (Michael Pacholke), p. iv-vii; argument, p. viii; index of scenes, p. ix-xii; vocal score, 240 p. ISMN M-006-52489-1; BA 4074a. [euro]39.95.] George Frideric Handel's Lotario (first performed at King's Theatre, Haymarket, 2 December 1729) was first opera seria given in London after collapse of Royal Academy of Music in 1728. It was a new beginning with new singers, with a new poet and with changed contractual conditions. advent of ballad operas had influenced fashions. In Michael Pacholke's introduction to his edition of this opera for Hallische Handel-Ausgabe (presented in German and an English translation by Terence Best), situation of Lotario is aptly characterized basis of contemporaneous comments (pp. xii-xiii). Thus Mary Pendarves wrote 20 December 1729: The opera is too good for vile taste of town .... it will put people upon making comparisons between these singers and those that performed before, which will be a disadvantage among ill-judging multitude. present opera is disliked because it is too much studied, and they love nothing but minuets and ballads, in short Beggar's and Hurlothrumbo are only worthy of applause (p. xiii). In opposing camp, ex-secretary of Royal Academy of Music, Paolo Rolli, also commented (11 December) past and present singing cast and negatively compared Anna Maria Strada del Po (Adelaide) with Faustina Bordoni and Francesca Cuzzoni. He praised only contralto Antonia Merighi (Matilde) and tenor Annibale Pio Fabri (Berengario), and costumes provided by John James Heidegger (quoted in Italian and English translation pp. xii-xiii). While making lecherous and rude remarks, respectively, about trouser role Idelberto (Francesca Bertolli) and bass Johann Gottfiried Riemschneider (Clodomiro), he observed complete silence about new primo uomo Antonio Bernacchi (Lotario), who had replaced Francesco Bernardi detto Senesino. Rolli had already noted 3 September 1729 that the famous [Giacomo] Rossi (p. xiii) now was Handel's Italian poet. Too many irksome innovations! But Rolli conceded that some patrons liked Strada better than two former prime donne, according to a judgment from on High (ab Alto--curiously interpreted by Pacholke as meaning Handel). He was particularly incensed by fact that model for Lotario, Giuseppe Maria Orlandini's Adelaide, had only been performed earlier that same year during carnival in Venice with Senesino--and with Faustina, who sang title role and acted as coproducer. Handel had visited Venice at this time and probably heard Adelaide; only manuscript of opera surviving today (a presentation score later owned by William Savage, now in library of London's Royal Academy of Music) may have been made for opera's dedicatee, James Hamilton, Viscount Limerick, a director of Royal Academy and later of Opera of Nobility. Handel probably used a score of work for his pasticcio Ormisda in 1730. Lotario certainly entered a polarized field of tastes and emotions about opera in London: foundations for rivalry of 1733 were being laid here. libretto of Lotario, closely modeled after Venetian Adelaide, goes back to Adelaide by Antonio Salvi (1722), penultimate dramma per musica by Handel's preferred libretto author (d. …