La Liberazione di Ruggiero dall’Isola di Alcina review – 17th-century rarity is fun when it forgets to be earnest
Buxton festival Francesca Caccini’s 1625 work – the earliest surviving opera by a woman – is wildly imaginative, even without the original horse ballet There
Buxton festival Francesca Caccini’s 1625 work – the earliest surviving opera by a woman – is wildly imaginative, even without the original horse ballet There is magic in the air at this year’s Buxton festival – and it’s not just the hops from the local brewery.
Wizards, sorceresses and fairies curse and charm their way through a trio of operas from three different centuries. Handel and Pauline Viardot take care of the 18th and 19th respectively, but setting the cauldron bubbling is Francesca Caccini’s 1625 La Liberazione di Ruggiero – the earliest surviving opera by a woman.
Premiered at the Medici court – then under the rule of regent Maria Maddalena of Austria – it is no coincidence that the work’s take on Ariosto’s Orlando Furioso is more girl-power than most. Warrior Ruggiero has been reduced to a lovesick captive, while sorceresses Alcina (wicked) and Melissa (good) do battle over him.
Add in a chorus of Alcina’s former lovers (now transformed into plants and shrubs) and you have a deliciously semi-serious, mythical romp whose premiere apparently ended with a horse ballet. Continue reading...
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