The Liberation of Ruggiero from the Island of Alcina
This fascinating work by Francesca Caccini is the earliest opera by a woman for which the complete score has survived. She was a singer and composer at the Medici court in Florence, and the opera was composed for the visit of a Polish prince in 1625. The plot is drawn from Ariosto’s epic poem Orlando Furioso, a work that inspired numerous composers. Here, Vache Baroque, an outstanding young company specialising in early vocal and choral music, has joined forces with the Buxton International Festival and director Eloise Lally to find a contemporary context for what was, in 1625, a simple tale of the struggle between good and evil to free the hero Ruggiero from the spell of an enchantress.
Ruggiero has been imprisoned by the evil sorceress Alcina on her magical island. His lover, Bradamante, asks the good sorceress Melissa to free him from captivity. Melissa disguises herself as Atlas, a sailor, and lands on the island, where she finds Ruggiero guarded by figures from the natural world—perhaps other heroes captured and transformed by the sorceress. She breaks the spell and sparks a rebellion among the island’s creatures. Before they can escape, however, Alcina returns and pleads with Ruggiero to stay. When he refuses, she becomes enraged and summons the Furies to entrap and destroy both Ruggiero and Melissa. In the final scene, Melissa confronts Alcina, and her magic proves the more powerful. Alcina departs, defeated, and Ruggiero and Melissa rejoice.
The musical style belongs to the earliest years of opera and echoes the music of Monteverdi and Peri. However, the central dramatic conflict—the battle between two female sorceresses—is unusual for its time, while some of the beautiful choral writing vividly demonstrates Caccini’s reputed gift for sacred vocal music.
The young cast is excellent. As the tormented Ruggiero, Jon Stainsby is outstanding. He possesses a powerful, lyrical voice and clearly has the vocal technique required for Baroque repertoire. Camilla Seale is an impressive Alcina, prowling her island and conveying a genuine sense of menace even while professing her love for her captive. It comes as no surprise to learn that she also performs with the acclaimed Baroque ensemble Musica Antica. Phoebe Rayner, as Melissa, appears both as the sorceress herself and in male disguise. Playing the ‘good witch’ opposite such a charismatic ‘bad witch’ is never easy, but with her silvery mezzo and serene stage presence, she is perfectly cast. The five remaining singers are equally impressive, conjuring the island’s magical creatures with dramatic conviction, while their ensemble singing is consistently delightful.
The Baroque orchestra—with its sackbuts, theorbo, recorders and violas—is mesmerising. Although divided into two groups, with the brass separated from the rest of the players, Jonathan Darbourne, conducting from the harpsichord, draws a performance of remarkable cohesion and high musical quality.
Director Eloise Lally has found a compelling way to tell the story, focusing on the natural landscape of Alcina’s enchanted realm. Zahra Mansouri’s striking design, featuring a ring of stones that defines the island both as a physical place and as a realm of visible and invisible magic, reinforces this concept beautifully. The prologue, which appears to be set in a naval base with Neptune portrayed as an admiral rather than a god, is somewhat less successful. Nevertheless, it serves its purpose in introducing Melissa’s quest.
For both the Buxton International Festival and Vache Baroque, this ambitious production is a modest triumph. The opera richly deserves a place in the Baroque repertoire, and it rewards the care and imagination lavished upon it by Eloise Lally and her team. Summer opera festivals such as Buxton provide invaluable opportunities to rediscover neglected masterpieces, and this production demonstrates just how rewarding that commitment can be.
Venue: Buxton International Festival
Composer: Francesca Caccini (born on 18 September 1587 and is believed to have died around 1641 (the exact date is unknown)
Libretto: Ferdinando Saracinelli
Music Director: Jonathan Darbourne
Director: Eloise Lally
Performers incl: Camilla Seale, Jon Stainsby, Phoebe Rayner
Running time: 1hour 45 minutes
Dates: until 21 July
Photos: Genevieve Girling.