Pleasure
Can one live for pleasure? That is the question examined in The Triumph of Time and Disillusion by Benedetto Pamphilij, for those were the days when cardinals wrote morality plays. Handel, who met Pamphilij in Rome in 1706 set the work to music the following year. The composer was then 22 years old, the cardinal was 53. How astonished they would both have been to find their work performed in Trondheim, virtually Ultima Thule, this evening — and excellently, too. The drama, comprising four characters, is straightforward: Beauty is torn between the allurements of Pleasure and the stern admonitions of Time, helped in discernment by Disillusion, a fine contralto part. Gradually Beauty comes to see that Pleasure just isn’t a reliable long-term partner. She decides that a hierarchy of values is required to construct a life that is prospective. Increasingly she awakens to the attractiveness of truth, a category that at the outset didn’t feature in her thinking. So not a daft plot, really.
