George Frideric Handel
1685 – 1759 · German · 25 operas in the catalogue
George Frideric (or Frederick) Handel ( HAN-dəl; baptised Georg Fried[e]rich Händel, German: [ˈɡeːɔʁk ˈfʁiːdʁɪç ˈhɛndl̩] ; 5 March [O.S. 23 February] 1685 – 14 April 1759) was a German-British Baroque composer well-known for his operas, oratorios, anthems, concerti grossi, and organ concerti. Born in Halle, Handel spent his early life in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque. In turn, Handel's music forms one of the peaks of the "high baroque" style, bringing Italian opera to its highest development, creating the genres of English oratorio and organ concerto, and introducing a new style into English church music. He is consistently recognised as one of the greatest composers of his age. Handel started three commercial opera companies to supply the English nobility with Italian opera. In 1737 he had a physical breakdown, changed direction creatively, addressed the middle class and made a transition to English choral works. After his success with Messiah (1742), he never composed an Italian opera again. His orchestral Water Music and Music for the Royal Fireworks remain steadfastly popular. One of his four coronation anthems, Zadok the Priest, has been performed at every British coronation since 1727. He died a respected and rich man in 1759, aged 74, and was given a state funeral at Westminster Abbey. Interest in Handel's music has grown since the mid-20th century. The musicologist Winton Dean wrote that "Handel was not only a great composer; he was a dramatic genius of the first order." His music was admired by Classical-era composers, especially Haydn, Mozart and Beethoven.
Operas in the OperaPedia Catalogue
The following 25 operas by George Frideric Handel are catalogued in OperaPedia, listed in chronological order of premiere. Click any title for the full editorial entry, including synopsis, premiere details, language, and notable arias.
- n/a Flavio German
- 1696 Floridante, 1696 German
- 1705 Almira, 1705 German
- 1706 Daphne, 1706 German
- 1708 Florindo, 1708 Oper am Gänsemarkt German
- 1709 Agrippina, 1709 Teatro San Giovanni Grisostomo German
- 1709 Berenice, 1709 Covent Garden Theatre German
- 1715 Amadigi di Gaula, 1715 German
- 1718 Acis and Galatea, 1718 Theatre Royal German
- 1721 Alceste, 1721 German
- 1724 Giulio Cesare, 1724 German
- 1726 Alessandro, 1726 German
- 1727 Admeto, 1727 German
- 1727 Arianna in Creta, 1727 German
- 1728 Ezio, 1728 German
- 1732 Catone, 1732 German
- 1735 Alcina, 1735 German
- 1735 Ariodante, 1735 Covent Garden German
- 1736 Atalanta, 1736 German
- 1737 Arminio, 1737 German
- 1738 Alessandro Severo, 1738 German
- 1738 Faramondo, 1738 German
- 1739 Giove in Argo, 1739 German
- 1741 Deidamia, 1741 German
- 2007 Germanico, 2007 German
Stylistic Position & Reception
George Frideric Handel's position within the operatic canon has been shaped by performance tradition as much as by scholarly judgment. The works that survive in the active repertory of the major houses tend to be those that combine memorable vocal writing with dramatically effective situations · qualities that audiences continue to respond to from one generation to the next. Other works in the catalogue, less frequently performed, often reward closer study by singers, conductors, and dramaturges seeking to broaden the standard repertoire.
Modern scholarship on George Frideric Handel has been substantially enriched by the publication of critical editions of the major scores, by the rediscovery of forgotten works and revisions, and by the steady documentation of performance history through recordings, theatre archives, and contemporary criticism. The biographical sketch above and the catalogue of works are compiled from public-domain reference sources, including the structured Wikidata layer and the corresponding English Wikipedia article.
Editorial Note
OperaPedia maintains its composer entries as living documents, revised whenever new editorial work justifies a change. If you encounter a factual error in the biographical material above or in the linked opera entries, please write to the editors using the contact details on our about page.