by Nicholas Jones
To enter the world of Baroque opera is to abandon realism, especially with Handel’s magical Alcina, his 1735 recasting of the bizarre inventions of Italian chivalric romance. Almost every one in the opera is disguised, transformed, or betrayed — Bradamante, a young maiden dressed in her brother’s armor, pursues her fiancé Ruggiero, whom she discovers snuggling with the sorceress Alcina; Astolfo, a hapless warrior of whom we learn little except that his son Oberto very much misses him, has been turned into a lion quite reminiscent of Bert Lahr in The Wizard of Oz; a second sorceress (Morgana, sister to Alcina, it turns out) happily betrays her lover Oronte in the very first scene as she falls in love with Bradamante . . . and I could go on. [Read more…]