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Alcina (1987)

An Opera in Three Acts

Music by George Frideric Handel

The story is after a fairy tale from Ariosto’s poem Orlando Furioso; the text of the opera, author unknown, is closely based on Riccardo Broschi’s play L’isola d’Alcina (Rome 1782).

English version by Stephen Wadsworth

Musical edition by arrangement with Foreign Music Distributors for Deutscher Verlag für
Musik, publisher.

Alcina was first performed at the Theatre Royal, Covent Garden, London, on April 16, 1735.

Dates of Performance
May 28, 30; June 3, 12, 21

 

1987 Season
Carmen     Alcina

Cinderella     Beauty and the Beast

 

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Cast

Lucille Beers
Bradamante

 

John Kuether
Melisso

Sylvia McNair
Morgana

 

Juliana Gondek
Alcina

Alice Baker
Ruggiero

 

Peter Kazaras
Oronte

Creative Team

 John Nelson
Conductor

 

Stephen Wadsworth
Director

 

Thomas P. Lynch
Set Designer

 

Dunya Ramicova
Costume Designer

Peter Kaczorowski
Lighting Designer

 

Donald Palumbo
Chorus Master

 

Barbara Donner
Stage Manager

 

G. Michael Trupiano
Assistant Stage Manager

Tom Watson
Wig Master & Makeup

 

Daniel Beckwith
Repetiteur

 

Daniel Beckwith
Harpischord

 

Savely Schuster
Cello

Synopsis

The sorceress Alcina has lured countless lovers to her beautiful enchanted island. When she tires of them, she transforms them into animals, statues, even into the waves that surround the island and the flowers that decorate it. Alcina now loves Ruggiero, a knight who under her spell has forgotten his crusade and his wife, Bradamante.

Bradamante, disguised as her own brother Ricciardo, has come to Alcina’s island in search of her husband. She is accompanied by Melisso, Ruggiero’s mentor, also disguised. They are observed and greeted by Morgana, Alcina’s sister who immediately feels attracted to the handsome “Ricciardo” despite her romance with Alcina’s steward Oronte.

Alcina tells her guests they may stay on the island until the sea is calm again then makes a show of herself with Ruggiero.

Ruggiero, barely able to recognize Bradamante/”Ricciardo,” rudely dismisses Bradamante. Morgana and Oronte argue fiercely, and Bradamante recognizes in their struggle her own torments—loving someone and being rejected.
Oronte devises a plan to get rid of his new rival, “Ricciardo.” He tells Ruggiero that Alcina loves “Ricciardo” and he reveals to Ruggiero that Alcina has had many lovers and what she has done to them—Ruggiero may be next. When Ruggiero angrily challenges Alcina (in the presence of Bradamante/”Ricciardo”) she says she loves only him and leaves sadly.

Melisso prevents the unhappy Bradamante from revealing her true identity to Ruggiero. Ruggiero, assuming Bradamante/”Ricciardo” is half-mad with love for Alcina, assures “him” (really his own wife) that he and Alcina are passionate lovers with eyes only for each other.

Alcina intends to prove her love for Ruggiero by turning Bradamante/”Ricciardo” into a beast, but Morgana plans to rescue her new lover. To save herself Bradamante/”Ricciardo” sends Morgana to Alcina with a message that “Ricciardo” loves another. “Is that me?” asks Morgana. “Yes,” Bradamante replies. Bradamante escapes, and Morgana rejoices in her love for “Ricciardo.”

Melisso breaks Alcina’s spell by confronting Ruggiero with the truth and putting a magic ring on his finger: Ruggiero’s fantasy love for Alcina recedes, and his real love for Bradamante returns.
However, during his reunion with Bradamante, Ruggiero suspects that she may be Alcina in disguise. Bradamante despairs. Alone, Ruggiero feels in a limbo between Alcina’s spells and his newly remembered reality; he longs to be enlightened and fears that he could hurt Bradamante.

Alcina prepares to transform Bradamante/”Ricciardo” into a beast but is stopped by Morgana. Ruggiero tells Alcina he needs no such proof of her love. He asks her to allow him to go hunting, since he is restless. She sends him off but feels unsettled by his mood.

Oronte breaks the news to Alcina that Ruggiero has left her. Alcina is devastated.

Oronte also tells Morgana that her “Ricciardo” is going to leave her, but Morgana does not believe him until she witnesses Bradamante/”Ricciardo” and Ruggiero’s happy reunion and discovers that her “Ricciardo” is really a woman. Ruggiero bids tender farewell to the island.

Alcina tries to cast a spell over Ruggiero to keep him from leaving her, but her magic no longer works. Humiliated and despondent, she collapses.

Morgana has searched widely for Oronte to beg his pardon, but he does not want her back; he still loves her, but she has hurt him too many times.

Ruggiero and Alcina meet unexpectedly. He tells her why he must leave, and she vows that her fury shall never relent.

Ruggiero parts from Bradamante and Melisso to do battle with Alcina’s monsters and soldiers. Bradamante swears that she will only leave the island when all of Alcina’s victims have been restored to freedom.

Alcina learns that Ruggiero has defeated her forces in battle and realizes that her day has ended. She makes one last attempt to detain Ruggiero by pretending that he will die if he tries to leave, but Ruggiero and Bradamante see her desperation for what it is.

With Bradamante, Melisso and Oronte at his side, Ruggiero smashes the urn — the last vestige of Alcina’s great magic — and the island reverts suddenly to its original barren state. All of Alcina’s enchanted lovers are restored to freedom, and Alcina and Morgana lament their doom.

All sing a final chorus praising the power of reason.

Alcina is the second production of a six-year cycle of neglected masterpieces. The cycle is funded by a special gift from Emerson Electric Co.

The soloists and orchestra for Alcina have been underwritten by generous gifts from Dr. Gene Spector, Fielding Holmes, Mr. and Mrs. David Mesker, and Burton Bernard.

Additional expenses of the production have been generously underwritten by Mr. and Mrs. William B. Firestone, Keith and Ann Fischer, Dr. John E. Forestner, Mr. and Mrs. T. L. Gossage, Ronald and Jan Greenberg, Mr. and Mrs. Richard T. Grote, Drs. Laurence and Edith Lwine, Dr. and Mrs. Richard Shaw, and M. Richard Wyman.

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