Tolomeo

An aria from the opera, Non lo dirò col labbro, was adapted by Arthur Somervell (1863–1937) as the popular English-language classic "Silent Worship" in 1928.

But as she and "Osmin" talk, it becomes clear that her feelings are not requited, that Tolomeo loves another (Seleuce, his wife, who he thinks is lost).

She, in order to protect Tolomeo, pretends she doesn't know what he is talking about, while in typical operatic fashion voicing her inner thoughts in parentheses; how this deception is painful to her and she longs for her husband.

[7] The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London.

A tremendous success, Rinaldo intensified in London the enthusiasm for Italian opera seria, a form that focused overwhelmingly on solo arias for the star virtuoso singers.

[8][9] Handel had composed numerous Italian operas for the Academy, with varying degrees of success; some were enormously popular.

The castrato Senesino and the soprano Francesca Cuzzoni had appeared in a succession of Handel operas for the Academy (he was not the only composer who composed operas for the company) most of which had been successful with audiences, and in 1726 the directors of the Academy brought over another internationally renowned singer, Faustina Bordoni, to add to the company's attractions.

The two prima donnas had appeared in continental European countries in operas together without incident, but in London they developed rival groups of fans that interrupted the performances with rowdy displays of partisanship for one lady or another.

This came to a climax on 6 June 1727 during a performance at the King's Theatre of Astianatte by Giovanni Bononcini with both singers onstage and royalty in the audience.

Fist fights and disorder between rival groups of fans broke out in the audience and the two sopranos exchanged insults and came to blows onstage.

[7] Handel continued to supply operas for the trio of star singers, Senesino, Cuzzoni and Faustina (as she was known) however, even though these singers received astronomical fees, much more than he received for composing the works,[10] which combined with declining audience numbers caused at least in part by the ridicule brought upon Italian opera by the rival sopranos' public spat, was causing severe financial difficulty for the Royal Academy of Music.

After the 1728 season closed, the Royal Academy of Music was dissolved, but Handel went into partnership with John James Heidegger, the theatrical impresario who held the lease on the King's Theatre in the Haymarket where the operas were presented, and Handel set out to Italy to find singers for his 1729 season, Cuzzoni, Senesino and Faustina having all left London for engagements on the continent of Europe.

[11] The aria for Alessandro in the opera, No.3 in the score, '' Non lo dirò col labbro", with an English text as "Silent Worship", is featured in the 1996 film adaptation of Jane Austen's novel Emma.

[13][14] The opera is scored for two recorders, flute, two oboes, bassoon, two horns, strings, and continuo (cello, lute, harpsichord).