G.F. HANDEL. ARIE DELL'OPERA DI RINALDO COMPOSTA DAL SIGNOR HENDEL, 65 PAGES, LONDON: J. WALSH, 1711

FIRST EDITION OF THE ITALIAN TITLE, 65 pages, folio (c.36 x 21cm), engraved throughout, title on a central panel within an elaborate border illustrated with music and instruments (Hunter, passe-partout title no.5), table of songs with advertisement, single pagination at top centre throughout, original singers' names to each number, A TALL COPY with a strong dark impressions, modern binding, gilt spine, EARLY MANUSCRIPT ADDITIONS TO THE ACCOMPANIMENTS TO 3 NUMBERS, in brown ink (pp.40, 49 and 59), price added in manuscript, browning to title

Smith no.2; RISM H 278; Smith (Walsh) no.387; HWV 7; not in Hoboken or Hirsch.

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RARE: Smith (No.2) records three copies of this issue, two as incomplete, and one other is in the Bibliothèque nationale, Paris.   The manuscript additions to the accompaniments of three of the most famous numbers appear to be unrecorded: 'Lascia ch'io pianga' (p.40), 'Vò far guerra' (p.49) and 'Bel piacere' (p.59).    An otherwise identical 65-page score was issued a month earlier with an English title (although the opera is in Italian throughout).  Both copies of the 'Arie' in the British Library contain a later 67-page issue. The only complete copy of the first Italian issue, as recorded by Smith, was sold at Sotheby's on 17 December 1951, lot 96, from the Glazebrook Collection.  All three 1711 issues are rare at auction. This is essentially the first edition with a new Italian text-panel inserted into the title-page engraving: the freshness of the engraving suggests an early use of the original plates.  

The opera also contains another aria that Handel declared to be one of his finest: 'Cara sposa' (p.26). Handel's Rinaldo was not only his first opera for London, but also the first Italian opera specifically composed there.  It caused a sensation when it opened on 24 February 1711, attracting famous critical reviews about the castrato Nicolini and the extravagant staging from Addison and Steele in The Spectator.