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George Frideric Handel

Alcina, HWV.34

Opera

HWV 34 Composed 1735 Stage

Alcina (HWV 34) is a 1735 opera by George Frideric Handel. He used the libretto of L'isola di Alcina, a work set to music in 1728 in Rome by Riccardo Broschi, which he had acquired a year later during his travels in Italy. Partly altered for better conformity, the story was originally taken from Ludovico Ariosto's epic poem Orlando furioso (like those of the Handel operas Orlando and Ariodante). The opera contains several musical sequences with opportunity for dance: these were composed for dancer Marie Sallé.

From Wikipedia, CC BY-SA 4.0.

Synopsis

The background of the opera comes from the poem Orlando Furioso. The heroic knight Ruggiero is destined to a short but glorious life, and a benevolent magician is always whisking him away from the arms of his fiancée, Bradamante. Bradamante is not the type to put up with the constant disappearance of her lover, and she spends vast portions of the poem in full armor chasing after him. Just before the opera begins she has rescued him from an enchanted castle, only to have her hippogriff (a flying horse-eagle) take a fancy to Ruggiero and fly off with him. Ruggiero and the hippogriff land on an island in the middle of the ocean. As the hippogriff begins to eat the leaves of a myrtle bush, Ruggiero is startled to hear the bush begin to speak. The bush reveals that it was once a living soul named Sir Astolfo, and the island belongs to the sister sorceresses Alcina and Morgana. The beautiful Alcina seduces every knight that lands on her isle, but soon tires of her lovers and changes them into stones, animals, plants, or anything that strikes her fancy. Despite Astolfo's warning, Ruggiero strides off to meet this sorceress – and falls under her spell.

  1. Ouverture: Ouverture, pomposa / allegro
  2. Ouverture: Ouverture, Musette
  3. Ouverture: Ouverture, Menuet

Atto I

Bradamante, again searching for her lover, arrives on Alcina's island with Ruggiero's former tutor, Melisso. Dressed in armor, Bradamante looks like a young man and goes by the name of her own brother, Ricciardo. She and Melisso possess a magic ring which enables the wearer to see through illusion, which they plan to use to break Alcina's spells and release her captives.
The first person they meet is the sorceress Morgana. Barely human and with no understanding of true love, she immediately abandons her own lover Oronte for the handsome 'Ricciardo.' Morgana conveys the visitors to Alcina's court, where Bradamante is dismayed to discover that Ruggiero is besotted with Alcina and in a state of complete amnesia about his previous life. Also at Alcina's court is a boy, Oberto, who is looking for his father, Astolfo, who was last seen heading toward this island. Bradamante guesses that Astolfo is now transformed into something, but she holds her peace and concerns herself with Ruggiero. Bradamante and Melisso rebuke Ruggiero for his desertion, but he can't think of anything except Alcina.
Meanwhile, Oronte discovers that Morgana has fallen in love with 'Ricciardo,' and challenges 'him' to a duel. Morgana stops the fight, but Oronte is in a foul mood and takes it out on Ruggiero. He tells the young man exactly how Alcina treats her former lovers and adds that, as far as he can tell, Alcina has fallen in love with the newcomer, Ricciardo (Semplicetto! A donna credi? Nr. 12). Ruggiero is horrified and overwhelms Alcina with his jealous fury. Things get even worse when 'Ricciardo' enters and pretends to admire Alcina. Alcina calms Ruggiero (Sì, son quella Nr. 13), but Bradamante is so upset at seeing her fiancé wooed before her very eyes that she reveals her true identity to Ruggiero (La bocca vaga, quell'occhio nero Nr. 14). Melisso hastily contradicts her and Ruggiero becomes very confused.
Alcina tells Morgana that she plans to turn Ricciardo into an animal, just to show Ruggiero how much she really loves him. Morgana begs Ricciardo to escape the island and Alcina's clutches, but 'he' says he'd rather stay, as he loves another. Morgana asks if he is referring to her and he says yes, and swears his fidelity to her. The act ends with Morgana's aria "Tornami a vagheggiar", in which she tells 'Ricciardo' to come back to court her, and that she will remain faithful to him (In some productions, this aria is sung by Alcina.)

  1. Scena I, III. Recitativo “Oh Dei! Quivi non scorgo alcun sentiero” (Bradamante, Melisso, Morgana)
  2. Scena I, IV. Aria “O s’apre al riso” (Morgana)
  3. Scena II, V. Coro “Questo è il cielo de’ contenti” (Coro)
  4. VI. Il ballo: i. Gavotte
  5. VI. Il ballo: ii. Sarabande
  6. VI. Il ballo: i. Gavotte (da capo)
  7. VI. Il ballo: iii. Menuet
  8. VI. Il ballo: iv. Gavotte alla breve
  9. Scena II, VII. Recitativo “Ecco l’infido” (Bradamante, Melisso, Alcina)
  10. Scena II, VIII. Aria “Di’, cor mio, quanto t’amai” (Alcina)
  11. Scena III, IX. Recitativo “Generosi guerrier, deh!” (Oberto)
  12. Scena III, X. Aria “Chi m’insegna il caro padre?” (Oberto)
  13. Scena IV, XI. Recitativo “Mi ravvisi, Ruggier, dimmi?” (Bradamante, Ruggiero, Melisso)
  14. Scena IV, XII. Aria “De te mi rido, semplice stolto” (Ruggiero)
  15. Scena V, XIII. Recitativo “Qua dunque ne veniste” (Oronte, Bradamante) / Atto I, Scena VI. “Io sono tua difesa” (Morgana, Bradamante)
  16. Scena VI, XIV. Aria “È gelosia” (Bradamante)
  17. Scena VII, XV. Recitativo “Io dunque” (Oronte, Morgana, Ruggiero, Oronte)
  18. Scena VII: Aria “Bramo di trionfar” (Ruggiero)
  19. Scena VIII. Recitativo “La cerco invano, e la crudel non torna” (Ruggiero, Oronte)
  20. Scena VIII, XVI. Aria “Semplicetto! A donna credi?” (Oronte)
  21. Scena IX, XVII. Recitativo “Ah, infedele, infedel!” (Ruggiero, Alcina) / Atto I, Scena X. “Regina, il tuo soggiorno” (Bradamante, Alcina, Ruggiero)
  22. Scena X, XVIII. Aria “Sì, son quella, non più bella” (Alcina)
  23. Scena XI, XIX. Recitativo “Se nemico mi fossi” (Bradamante, Ruggiero) / Atto I, Scena XII. “Bradamante favella?” (Ruggiero, Melisso, Bradamante)
  24. Scena XII. Aria “La bocca vaga” (Ruggiero)
  25. Scena XIII, XX. Recitativo “A quai strani perigli” (Melisso, Bradamante) / Atto I, Scena XIV. “Fuggi, cor mio, ti affretta” (Morgana, Bradamante)
  26. Scena XIV. Aria “Tornami a vagheggiar” (Morgana)

Atto II

Melisso recalls Ruggiero to reason and duty by letting him wear the magic ring: under its influence, Ruggiero sees the island as it really is—a desert, peopled with monsters. Appalled, he realizes he must leave, and sings the famous aria "Verdi prati" ("Green meadows") where he admits that even though he knows the island and Alcina are mere illusion, their beauty will haunt him for the rest of his life.
Melisso warns Ruggiero that he cannot just leave; Alcina still wields immense power, and he should cover his escape by telling her that he wishes to go hunting. Ruggiero agrees, but, thoroughly bewildered by the magic and illusion surrounding him, he refuses to believe his eyes when he at last sees Bradamante as herself, believing that she may be another of Alcina's illusions. Bradamante is in despair, as is Alcina. Convinced of Ruggiero's indifference, Alcina enters to turn Ricciardo into an animal, and Ruggiero has to pull himself together quickly and convince the sorceress that he does not need any proof of her love. It is at this point that the audience realises that Alcina genuinely loves Ruggiero; from now until the end of the opera, she is depicted sympathetically.
Oronte realizes that Ricciardo, Melisso and Ruggiero are in some sort of alliance, and Morgana and Alcina realise they are being deceived. But it is too late: Alcina's powers depend on illusion and, as true love enters her life, her magic powers slip away. As the act ends, Alcina tries to call up evil spirits to stop Ruggiero from leaving her, but her magic fails her.

  1. Scena I, I. Arioso "Col celarvi, a chi v’ama un momento (Ruggiero)
  2. Scena I, II. Recitativo “Taci, taci, codardo” (Melisso, Ruggiero)
  3. Scena I, III. Arioso “Qual portento mi richiama” (Ruggiero)
  4. Scena I, IV. Recitativo “Atlante, dove sei?” (Ruggiero, Melisso)
  5. Scena I, V. Aria “Pensa a chi geme” (Melisso)
  6. Scena II, VI. Recitativo “Qual odio ingusto contro me?” (Bradamante, Ruggiero)
  7. Scena II, VII. Aria “Vorrei vendicarmi” (Bradamante)
  8. Scena III, VIII. Recitativo “Chi scopre al mio pensiero” (Ruggiero)
  9. Scena III, IX. Aria “Mi lusinga il dolce affetto” (Ruggiero)
  10. Scena IV, X. Recitativo “S’acquieti il rio sospetto” (Alcina, Morgana) / Atto II, Scena V. “E la tua pace” (Morgana, Alcina, Ruggiero)
  11. Scena V, XI. Aria “Ama, sospira” (Morgana)
  12. Scena VI, XII. Recitativo “Non scorgo nel tuo viso” (Alcina, Ruggiero)
  13. Scena VI, XIII. Aria “Mio bel tesoro” (Ruggiero)
  14. Scena VII, XIV. Recitativo “Regina, io cerco in vano” (Oberto, Alcina)
  15. Scena VII, XV. Aria “Tra speme e timore” (Oberto)
  16. Scena VIII, XVI. Recitativo “Regina, sei tradita” (Oronte, Alcina)
  17. Scena VIII. Aria “Ah! Mio cor! Schernito sei!” (Alcina)
  18. Scena IX, XVIII. Recitativo “Oh. che dici, Morgana?” (Oronte, Morgana) / Atto II, Scena X. “All’offesa, il disprezzo giunge l’ingrata” (Oronte)
  19. Scena X, XIX. Aria “È un folle, è un vile affetto” (Oronte)
  20. Scena XI, XX. Recitativo “Ed è ver che mi narri?” (Oberto, Bradamante) / Atto II, Scena XII. “Eccomi a’ piedi tuoi” (Ruggiero, Bradamante, Morgana)
  21. Scena XII. Aria “Verdi prati, selva amene” (Ruggiero)
  22. Scena XIII, XXII. Recitativo accompagnato “Ah! Ruggiero crudel” (Alcina)
  23. Scena XIII, XXIII. Aria “Ombre pallide, lo so, mi udite” (Alcina)
  24. Entrée des songes funestes
  25. Entrée des songes agréables
  26. Entrée des songes agréables et effrayés
  27. Combat des songes funestes et agréables

Atto III

After this the opera finishes swiftly. Morgana and Oronte try to rebuild their relationship; she returns to him and he rebuffs her but (once she is offstage) admits he loves her
still. Ruggiero returns to his proper heroic status and sings an aria accompanied by high horns; Oberto is introduced to a lion, to whom he feels strangely attached, and Alcina sings a desolate aria in which she longs for oblivion.
Bradamante and Ruggiero decide that they need to destroy the source of Alcina's magic, usually represented as an urn. Alcina pleads with them, but Ruggiero is deaf to her appeals and smashes the urn. As he does so, everything is both ruined and restored. Alcina's magic palace crumbles to dust and she and Morgana sink into the ground, but Alcina's lovers are returned to their proper selves. The lion turns into Oberto's father, Astolfo, and other people stumble on, "I was a rock," says one, "I a tree" says another, and "I a wave in the ocean..." All the humans sing of their relief and joy, and Alcina is forgotten.

  1. Entrée de Mori
  2. Rondeau
  3. I. Sinfonia
  4. Scena I, II. Recitativo “Voglio amar e disamar” (Oronte, Morgana)
  5. Scena I, III. Aria “Credete al mio dolore” (Morgana)
  6. Scena I, IV. Recitativo “M’inganna, me n’avveggo” (Oronte)
  7. Scena I, V. Aria “Un momento di contento” (Oronte)
  8. Scena II, VI. Recitativo “Molestissimo incontro!” (Ruggiero, Alcina)
  9. Scena II, VII. Aria “Ma quando tornerai” (Alcina)
  10. Scena III, VIII. Recitativo “Tutto d’armate squadre” (Melisso, Ruggiero, Bradamante)
  11. Scena III, IX. Aria “Sta nell’ircana pietrosa tana” (Ruggiero)
  12. Scena IV, X. Recitativo “Vanne tu seco ancora” (Melisso, Bradamante)
  13. Scena IV, XI. Aria “All’alma fedel” (Bradamante)
  14. Scena V, XII. Recitativo “Niuna forza lo arresta” (Oronte, Alcina)
  15. Scena V, XIII. Aria “Mi restano le lagrime” (Alcina)
  16. Scena VI, XIV. Coro “Sin per le vie del sole” (Coro)
  17. Scena VI, XV. Recitativo “Già vicino è il momento” (Oborto, Alcina)
  18. Scena VI, XVI. Aria “Barbara! lo ben lo so” (Oberto)
  19. Scena VII, XVII. Recitativo “Le lusinghe, gl’inganni, non udir più” (Bradamante, Alcina, Ruggiero)
  20. Scena VII, XVIII. Terzetto “Non è amor, nè geliosa” (Alcina, Bradamante, Ruggiero)
  21. Scena VIII, XIX. Recitativo “Prendi, e vivi” (Ruggiero, Oronte) / Scena IX. “Ah mio Ruggier, che tenti?” (Alcina, Ruggiero, Bradamante) / Scena X. “Misera, ah, no!” (Alcina, Morgana) / Scena ultima “A che tardi?” (Melisso, Ruggiero, Oronte, Bradamante, Alcina, Morgana)
  22. Scena ultima, XX. Soli e coro “Dall’orror di notte cieca” (Coro)
  23. Scena ultima. Entrée
  24. Scena ultima, XXI. Tamburino
  25. Scena ultima, XXII. Coro “Doppo tante amare pene” (Coro)

Synopsis from Wikipedia, CC BY-SA 4.0.

Elsewhere

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