Handel and Ruspoli meet again ... in the Himalayas

Mention the name 'Ruspoli' to any serious Handel fan, you can expect a captivating narrative of an episode in the composer's life that brought him into contact with one of the finest and most progressive European music-making centres of the day. Handel abandoned his position and endeavours at the Hamburg Opera in 1706 in pursuit of what he and the rest of Europe knew, that the musical avant-garde scene centred around the best composers, instrumentalists and singers was happening in Italy, and the best place to be a part of the Italian phenomenon was of course in Italy itself.

Handel possessed the uncanny ability to attract the attention of influential people wherever he went, and the talent to guarantee their continuing support. Anyone interested in exploring Handel's sojourn in Italy in the years between 1706 and 1710 - when he left for London - can find ample material on the vast resources offered on internet. In this post I want to concentrate on one particular figure who was extremely important as a patron and promoter of Handel and his musical activities in Rome: the Marchese Francesco Maria Marescotti Ruspoli. The Ruspoli family originated from Florence and can be traced back to the 8th century AD. In 1708 and 1709, Francesco lead important military battles on behalf of the Papal State against the Austrian army. In recognition of his services he was given the title of the First Prince of Cerveteri by Pope Clement XI.

Handel on account of his self-entrepreneurship and his dazzling skills at the keyboard was quickly noted by the highest intellectual echelons of Rome and was introduced into the Accademias or poetic/literary meetings that often included musical performances, especially of the cantata. It was in this context that Francesco Maria Ruspoli became acquainted with Handel who became part of the Ruspoli entourage with the role of furnishing a series of chamber cantatas to Italian texts to be presented at the gatherings.

One of the grandest compositions to originate from the Ruspoli patronage was the Oratorio per la resurrezione di Nostro Signor Gesu Cristo. Since opera at the time suffered papal repression in Rome, the oratorio, while based on sacred texts, became in all effects an 'operatic event' complete with staging and costumes. The first performance at Palazzo Ruspoli was a sumptuous affair with an orchestra lead by none other than the famous Arcangelo Corelli and with one of the solo parts given to the leading soprano of the day, Margherita Durastanti. The Pope however received news that, against his ruling, a female singer had performed in public and issued a scandalized admonishment to the Marquis and threatened the soprano with a public flogging!

Here is the opening aria which illustrates the flamboyant operatic style as the Angel commands the opening and subjugation of the doors of Hell ...




Margherita Durastanti was one of the first great Italian sopranos with whom Handel was able to shape his ideas on composing for singers. She went on to become one of his stars during the London period where he wrote most of his operatic masterpieces. In 1707 the pair were invited to stay at the Ruspoli Castle in the Etruscan town of Vignanello, just north of Rome.

The gardens of Castello Ruspoli in Vignanello.

Jonathan Keates writes 'It was the end of the stag-hunting season and Handel himself rode out with the Marquese for a day's sport. His newly-composed cantata Diana cacciatrice was performed that morning, possibly as has been deduced from the final rousing fanfares, to speed the hunters on their way.' [Handel: the Man and his Music]



Opera Bhutan has now reunited Handel and the Ruspoli family ... in the Himalayan Kingdom of Bhutan. Prince Tao Ruspoli, the son of Alessandro Ruspoli, 9th Prince of Cerveteri, is joining the project.
Welcome Tao to this unique project, we are honoured to have you and we salute your great forefather who contributed in such an important way to Handel's artistic career.

Tao Ruspoli