In approximately 81 BC during the Roman Republic, a triumphant Silla returns to Rome after defeating not only enemies abroad, but his political enemy Mario. Celebrated with triumphant music, Silla proclaims himself dictator. This declaration is not welcomed by Silla’s wife Metella nor by his friend Lepido, a tribune and advocate for the people. In the name of patriotism, Metella resolves to use her influence to moderate Silla’s ambitions and behavior.
However, nothing bodes well for Rome. Flavia, Lepido’s wife, is having dreams which portend darkness and danger. Lepido acknowledges her concerns but encourages constancy and faith rather than fear and despair. Meanwhile, the political conflict between Silla and Mario has divided two lovers: Celia supports Silla while Claudio believes him a tyrant. The two ultimately move past this conflict and declare their love for one another, but not before Claudio confronts Silla about his attacks on Roman liberty.
Silla rules with fury, fosters fear in the populace, and attempts to seduce both Celia and Flavia. Metella takes a strong stand against her husband’s behavior, seemingly echoed by Nature itself as Flavia sees additional dark omens. When Celia and Flavia reject Silla’s advances, he lashes out, arresting Claudio, Flavia, and Lepido and sentencing all three to death. Metella conspires to save their lives but draws the line at aiding an assassination of the dictator, whom she still loves. When a disaster demonstrates Silla’s vulnerability, it is Metella’s heroic intervention that allows his redemption, paving the way for a repentant dictator and the return of Roman liberty.
A great deal of mystery surrounds the initial writing and performance of Handel’s Silla, but it is most noteworthy for its innovative musical writing, much of which would later be repurposed by Handel for his next opera, Amadigi di Gaula.
