Belshazzar (Handel)
[1] Jennens' libretto was based on the Biblical account of the fall of Babylon at the hands of Cyrus the Great and the subsequent freeing of the Jewish nation, as found in the Book of Daniel.
[5] Precis: Despite the warnings of his mother Queen Nitocris, King Belshazzar of Babylon commits sacrileges against the God of the Jews, who are in captivity there.
The city is besieged, Belshazzar is slain, and the Jews are freed to return to their homeland by Cyrus the Great of Persia.
Gobrias longs for revenge for the death of his son which was caused by Belshazzar (Air:Oppress'd with never-ceasing grief).
Cyrus dedicates himself to the, as yet unknown to him, powerful deity whom he feels is directing his steps (Great God, who, yet but darkly known).
His army comment that great deeds are only possible with divine assistance (Chorus of Medes and Persians:All empires upon God depend).
The Palace Belshazzar, with his mother, Babylonians and Jews present, is celebrating the feast of Sesach by uproariously drinking copious amounts of wine (Air:Let festal joy triumphant reign).
Nitrocis implores her beloved son not to thus incur God's wrath, but Belshazzar scornfully rejects what he considers his mother's superstition (Duet:O dearer than my life, forbear!)
but as he is going to drink, a hand appears writing upon the wall over against him: he sees it, turns pale with fear, drops the bowl of wine, falls back in his seat, trembling from head to foot, and his knees knocking against each other (directions from original libretto).
Daniel rejects any monetary inducement however (Air:No, to thyself thy trifles be) and offers his interpretation of the writing on the wall for free (Accompanied recitative:Yet, to obey His dread command).
He orders Gobrias, who is familiar with the city, to lead the way, and commands that no Babylonian except the tyrannical King shall be harmed.
The victorious Cyrus orders that the Queen Mother Nitocris and the prophet Daniel should come to no harm (Air:Destructive war, thy limits know).
Nitocris appears and thanks him for his clemency, as Cyrus promises to be a second son to her (Duet:Great victor, at your feet I bow).
After he had received the text from his collaborator Charles Jennens, Handel wrote to him "Your most excellent Oratorio has given me great delight in setting it to Musick and still engages me warmly.
[6] The Babylonians are characterised in Handel's music not as evil pagans but as happy pleasure-seekers with dance derived foot-tapping tunes.
[6] The work is notable also for its characterisation through music of the leading roles, especially the dignified and sad figure of the Queen Mother Nitocris, despairing over her son's behaviour.
