Tornami a vagheggiar

GEORG FRIEDRICH HÄNDEL [1685 † 1759]

'ALCINA' (HWV 34) Opera/Ballet per Musica in 3 Acts, 1735
Librettist: Riccardo Broschi (1698 †1756)
[The Opera’s Libretto is derived from Cantos VI-VII of Lodovico Ariosto's (1474 †1533) Epic Poem 'Orlando furioso' (1516)]
Premiere: Covent Garden Theatre, 1735 in London

['Alcina was heavily influenced by French trends at the time. It shows Handel's knowledge of Rameau, his ability to write a Ballet spectacle and make use of the chorus in the French manner, to hold large scenes together and integrate it into the drama. The second scene of the first act sets the stage for the drama with typically French glitter, as the pleasure's of Alcina's enchanted court are displayed in a spectacle of dance and chorus. The finale is also a ballet, as Alcina's spells are broken and her former lovers regain their human forms.']

PERFORMERS:
Vocals:
Alcina: sorceress, Inga Kalna (soprano)
Ruggiero: a knight, Vivica Genaux (mezzo-soprano)
Morgana: Alcina's sister, Anna Devin (soprano)
Bradamante: Ruggiero's betrothed, disguised as her own brother, the knight Ricciardo, Patricia Bardon (mezzo-soprano)
Oronte: lover of Morgana, Benjamin Hulett (tenor)
Melisso: former tutor of Ruggiero, Oleg Tsybulko (basso)
Oberto: a boy searching for his father, Alina Yarovaya (soprano)

State Chamber Orchestra of Russia
Intrada : Vocal Ensemble
Direction: Federico Maria Sardelli

00:04, OVERTURE
(Sinfonia : Pomposo - Allegro)

ATTO PRIMO
~ Scena 1
02:45, Recitativo: Oh Dei quivi non scorgo/ Bradamante/ Melisso/ Morgana
03:45, Aria: O s'apre il riso /Morgana

~ Scena 2
07:49, Larghetto: Questo è il cielo de' contenti/ Coro

10:02, Il Ballo: Gavotte, Sarabande, Menuet

12:35, Recitativo: Ecco infido/ Bradamante/ Melisso/ Alcina
13:42, Aria: Di', cor mio, quanto t'amai/ Alcina

~ Scena 3
20:15, Recitativo: Generosi guerrier: Oberto/ Melisso/ Bradamante
21:04, Aria: Chi mi insegna il caro padre?/ Oberto

~ Scena 4
24:19 Recitativo: Mi ravisi, Riggiero, dimmi!/ Bradamante/ Riggiero/ Melisso
25:12, Aria: Di te mi rido, semplice stolto/ Ruggiero

~ Scena 5
28:53, Recitativo: Qua dunque ne veniste/ Oronte/ Morgana/ Bradamante

~ Scena 6
29:38, Aria: È gelosia/ Bradamante

~ Scena 7
33:43, Recitativo: La cerco in vano e la crudel non torna/ Ruggiero/ Oronte/ Morgana
34:54, Aria: Semplicetto! a donna credi?/ Oronte

~ Scena 8
39:53, Duetto: Ah! infedel, Infedel!/Alcina/ Ruggiero
40:44, Aria: Si: son quella/ Alcina/ Ruggiero

~ Scena 9
47:25, Recitativo: Se nemico mi fossi/ Ruggiero/ Bradamente/ Melisso
48:30, Aria: La bocca vaga /Ruggiero

~ Scena 10
52:05, Recitativo: Fuggi, cor mio, ti affretta! /Bradamante /Morgana
53:07, Aria: Tornami a vagheggiar /Morgana

(Finne dell' Atto Primo)

Händel used the Libretto of 'L'isola di Alcina', an Opera that was set in 1728 in Rome by Riccardo Broschi, which he acquired the year after during his travels in Italy. This Magic Opera is based on Cantos from Ariosto's 'Orlando Furioso' and has a fairy-tale aspect about it. Partly altered for better conformity, the story was originally taken from Ludovico Ariosto (like those of the Händel Operas Orlando and Ariodante) an Epic Poem set in the time of Charlemagne's wars against Islam. The Opera contains several musical sequences with opportunity for dance: these were composed for dancer Marie Sallé.
All of the contrasting elements of Alcina are interwoven to create the Drama. Any omission would damage the whole. And although the ending is a happy one for the lovers Bradamante and Ruggiero, and for the victims of Alcina, hers is the central figure. Her powerful character draws us into the tragedy that is revealed through her loss of power.



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