Va tacito e nascosto

Libretto#

Va tacito e nascosto, quand’avido è di preda, l’astuto cacciator. E chi è mal far disposto, non brama che si veda l’inganno del suo cor. The first verse of the text is used for the opening and final sections of the aria; the second verse for the middle section. Both verses have an identical rhyming scheme. The form of the verses is based on the style perfected by Metastasio, including the placement of poetic stress. Each line has seven sung syllables; the first two lines of each verse close with the stress on the penultimate syllable (versi piani), the final line of each with stress on the last syllable (verso tronco).

Music#

George Frideric Handel composed his opera Giulio Cesare in Egitto (known also simply as Giulio Cesare) in 1724 to a libretto by Nicola Francesco Haym. “Va tacito e nascosto” is set as a da capo aria sung by the character Julius Caesar in act 1, scene 9 of the opera, and is scored for strings and natural horn in F major. The vocal part is written for alto castrato voice, and was sung at the premiere by the celebrated performer Senesino. The ritornello for horn obbligato at the outset (bars 1 to 9) prefigures the melody sung by Caesar. The horn subsequently also echoes Caesar every time the word “cacciator” (hunter) is sung. As pointed out by Richard Taruskin, the use of a natural instrument such as the horn “sets … narrow limits on the harmony, virtually confining it to … the “primary” chords – tonic, dominant, subdominant”, and this is reflected in the harmony and orchestration of the aria. The opening and closing sections are in F major; the central section (in which the horn is silent) is in D minor with a modulation to A minor. Earlier versions of the thematic material of the aria can be traced in Handel’s Acis and Galatea (1718) and in an early trio sonata.

“Simile” aria#

The aria has been cited as an example of a aria simile, because the words and the music both reflect, in metaphor, the situation of the character. Caesar, at Tolomeo’s palace in Alexandria, compares himself to a stealthy hunter carefully tracking his prey; the prey in this case is Tolomeo, king of Egypt, who has just given Caesar a cool reception and whom Caesar views with suspicion. The aria follows a scene in which both Tolomeo and Caesar have complimented each other; Tolomeo has ordered his guards to escort the Roman visitor to the state apartments; but, in an aside to his general Curio, Caesar says he does not trust Tolomeo and expects to be betrayed.

Interpretations#

The aria was performed in 1784 at the Handel Commemoration Festival in Westminster Abbey. Present in the audience was the music historian Charles Burney, who wrote “The French-horn part, which is almost a perfect echo to the voice, has never been equalled in any Air, so accomplished, that I remember.” In the 2005 production of Giulio Cesare at Glyndebourne Festival Opera directed by David McVicar, the aria was choreographed with a “sinister court dance” underscoring the diplomatic manoeuvering and machination to which the text alludes.

Recordings#

In addition to appearing on recordings of Giulio Cesare, the aria also features on several recital albums, including: *Georg Friedrich Händel: Heroic Arias. James Bowman, The King’s Consort. Label: Hyperion *David Daniels, Handel Operatic Arias. David Daniels, Orchestra of the Age of Enlightenment. Label: Veritas *G. F. Haendel: Ombra mai fù: Airs, scènes célèbres et musique instrumentale. Andreas Scholl, Akademie für Alte Musik Berlin. Label: Harmonia Mundi *Handel: Arias, Bryn Terfel. Scottish Chamber Orchestra. Label: Deutsche Grammophon

Notes and references#

Notes References Sources * Retrieved 1 November 2016. * * * Retrieved 1 November 2016. * * * * * * * * * * *

Further reading#

• Retrieved 1 November 2016.

External links#

• “Va tacito e nascosto”, Aria Database
• , sung in English by Janet Baker, English National Opera, Charles Mackerras (1985)
• , sung in Italian by Zoltán Daragó