Before 'Messiah,' the composer cut his teeth with oratorios and cantatas such as 'Clori, Tirsi, e Fileno'
Dramatically, “Clori” is far removed from what Italian opera would evolve into, with complicated plots and even more complex characters. Something of an exception here is the two endings Handel wrote: one in which, put off by the fickle Clori, the two shepherds decide they’d be happier with each other — homosexuality was not uncommon in Handel’s social circle, Dirst notes — while the trio is able to work out a more mutually acceptable arrangement in the other.
Stories set in the countryside and populated by shepherds and other rural folk became popular during the Renaissance, thanks to the works of poets like Giovanni Battista Guarini. Musically, “Pastoral” even emerged as its own class of composition: peaceful, idyllic, restorative.
Still, Handel managed to instill unusual depth and brilliance into a plot that by then was already something of a cliché. “This was his biggest treatment of it outside the later operas, and in many ways I think his most charming,” Dirst says. “It puts his own style on top of this old language of the pastoral, and I think lifts it up out of mere convention and sort of hackneyed storytelling onto a different plane.
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