Donald Burrows (1997), The Cambridge Companion to Handel, Cambridge University Press, ISBN 0-521-45613-4, ISBN 978-0-521-45613-5, pp. 188–89. Despite their advanced features, the controllers are easy to use and apply and may be customised for ease of operation. Full autotune is provided. Ramp-soak timer and soft start Ellen T. Harris (2001), Handel as Orpheus Harvard University Press, ISBN 0-674-01598-3, ISBN 978-0-674-01598-2, p. 54. Not to be confused with the 1879 opera by Giovanni Bottesini, nor the 1897 opera by Luigi Mancinelli, nor the lost opera by Arrigo Boito, nor the symphonic poem by Alfredo Catalani. Ero e Leandro was first published in 1999 as part of Hallische Händel-Ausgabe's attempt to create a complete edition of all of Handel's works. It appears in Georg Friedrich Händel. Kantaten mit Instrumenten, III: HWV 150, 165, 166, 170, 171, 173. [12] Music [ edit ]

Dean, Winton (1980). "George Frideric Handel" in the New Grove Dictionary of Music and Musicians (British special edition), Vol. 8, Macmillan, London, ISBN 0-333-23111-2, p. 110. Ero e Leandro, also known after its first line as Qual ti reveggio, oh Dio [1] ( HWV 150), is a 1707 Italian-language cantata by George Frideric Handel, composed during his stay in Rome to a libretto believed to be written by Cardinal Pietro Ottoboni. [2] It is a reworking of the Greek myth of Hero and Leander, with the soprano soloist taking the role of Hero. [2] In it, Hero finds her love, Leander, drowned, tears out her hair, thus symbolically rejecting the beauty which had led to Leander's fascination with her (and thus his death), then drowns herself. [3] It is composed for a soprano solo (with no other singers), and a small orchestra consisting of two oboes, and two string sections: a concertino of solo violin and violoncello, and a concerto grosso made up of two violins, a viola, and continuo. [4] In Ero e Leandro, Recitatives alternate with arias, as was normal at the period for not only cantatas, but oratorios and operas as well; however, unusually, Ero e Leandro ends with a recitative, instead of an aria. [5] [6] Sawyer, John E (November 1999). "Irony and Borrowing in Handel's "Agrippina" ". Music and Letters. 80 (4): 533–41. doi: 10.1093/ml/80.4.531. JSTOR 854988. (subscription access). Dean, Winton (1997), Humour with Human Commitment: Handel's "Agrippina". Essay accompanying Philips recording 438 009-2 by Philips Classical Productions. p. 1 c.2

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a b Ellen T. Harris (2001), Handel as Orpheus Harvard University Press, ISBN 0-674-01598-3, ISBN 978-0-674-01598-2, p. 50 Harris, Ellen T (March 2001), "Kantaten mit Instrumenten, III: HWV 150, 165, 166, 170, 171, 173 (review)", in Notes 57: 3. p. 737. Harris, Ellen T (March 2001), "Kantaten mit Instrumenten, III: HWV 150, 165, 166, 170, 171, 173 (review)", in Notes 57: 3. pp. 736–37. Donald Burrows (1997), The Cambridge Companion to Handel, Cambridge University Press, ISBN 0-521-45613-4, ISBN 978-0-521-45613-5, p. 334.

It is the only of Handel's cantatas known, to reasonable certainty, to have been written under the patronage of Cardinal Pietro Ottoboni, [3] an important patron of the arts in Italy for whom Handel is known to have written many cantatas, but, outside of Ero e Leandro, it's somewhat uncertain which these are. Donald Burrows (2005), Handel and the English Chapel Royal, Oxford University Press, ISBN 0-19-816228-6, ISBN 978-0-19-816228-5, p. 89, footnote 43.

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