Aci, Galatea e Polifemo

Composer: Handel George Frideric

Arias (sheet music for voice and piano):


As When the DoveLove in her eyes sits playingO ruddier than the cherryWould you gain the tender creature

Acis (Tenor)

Love in Her Eyes Sits PlayingLove Sounds the AlarmWhere Shall I seek the Charming Fair?

Damon (Tenor)

Consider, Fond ShepherdShepherd! What Art Thou Pursuing?Would You Gain the Tender Creature

Galatea (Soprano)

Heart, Thou Seat of Soft DelightHush Ye Pretty Warbling ChoirOh! didst thou know the pains of absent love

Polyphemus (Baritone/Bass)

Cease to Beauty to be SuingO Ruddier Than the Cherry!

Vocal score

Qui l'augel da pianta in pianta PDF 0MbVerso già l'alma col sangue PDF 0Mb

Full scores

"Aci, Galatea e Polifemo" PDF 21Mb
Vocal: soprano, alto, bass
Orchestra: flute, 2 oboes, 2 trumpets, 2 violins, viola, 2 cellos, continuo (harpsichord)
Aci, Galatea e Polifemo (HWV 72) is a dramatic cantata—also called a serenata—by George Frideric Handel. It was first performed at Naples on 19 July 1708; the completed score is dated to 16 June 1708. The serenata was commissioned by Duchess Donna Aurora Sanseverino for the wedding festivities of the Duke of Alvito, Tolomeo Saverio Gallo, and Beatrice Tocco di Montemiletto, Princess of Acaja and niece of Aurora Sanseverino.
The Italian libretto was written by Nicola Giuvo, private secretary and literary adviser of Duchess Sanseverino. The plot is virtually the same as in Handel's later English-language pastoral opera Acis and Galatea, but Handel drew little on the music of the cantata when he returned to the story in 1718, although he did take care to introduce the half-lovable villain — the one-eyed giant Polyphemus — with another signature comic aria, faster and demanding virtuosity of a different kind than the one in Aci (see below), namely, "O ruddier than the cherry."
The role of Polifemo (Polyphemus), a cyclops whose actions have lethal consequences for Aci (Acis), is particularly notable for the vast range and singular vocal agility required. The part ranges from the D below the bass staff to the A above it — and that in his main satirical slow, ponderous buffa aria, "Fra l'ombre e gl'orrori". The role may have been taken at the premiere by the bass Antonio Manna, who sang at the court chapel in Vienna.