Bradamante so speaks to Ruggiero. So you correspond to so many of mine for you suffered troubles? Hope abandons me; I live in me beautiful constancy; the love is agitated in me. It is in the stony Iracana lair disgruntled tiger, and uncertain slopes, if he leaves, or waits the cacciator.
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Act I The opera begins with the arrival of Bradamante disguised as her own brother Ricciardo and Melisso her former tutor on the sea shore. With the help of a magic ring they intend to break the spell which binds Ruggiero to Alcina, and to release her other captives, who have been variously transformed. She greets the strangers, and lavishly expands on her love for Ruggiero, asking him to show her guests her palace and estates. When she has gone, the boy Oberto asks Melisso and Bradamante to help him to find his father, Asotlfo; it is clear to them though Oberto is ignorant of it that he must have been changed into a wild beast, like so many others.
Act II The second act brings the almost immediate revelation to Ruggiero that he is the victim of enchantment. He immediately longs to see Bradamante, and repair the damage caused by Alcina. Melisso, now himself again, tells him of the plans for escape.
Ruggiero is to put on his armour, and pretending to long to hunt in the forest, make his escape. Although he is now free of the enchantment, he still mistrusts Alcina; and at his next meeting with Bradamante he cannot be sure that Alcina has not disgusied herself as Bradamante to keep him in her power.
Bradamante is in despair; Ruggiero, left alone, fears for the consequences if, after all, he has again failed Bradamante. Morgana interrupts Alcina as she prepares to utter the spell which will turn Bradamante into a wild beast. She is followed by Ruggiero, who, without revealing that he no longer loves her, convinces Alcina that he desires nothing so brutal to convince him of her love. He then persuades her, against her will, to let him go hunting.
Oronte now brings news of the intentions of Ruggiero, Melisso and Bradamante to flee, and Alcina laments her fate. As he swore to do earlier, he rebuffs her; but when she has gone, he admits that he still loves her. Ruggiero and Alcina unexpectedly meet, and she demands to know why he is leaving her. When he tells her that he must return to his duty and his betrothed, she contemptuously dismisses him, swearing vengeance.
Oronte next informs Alcina that her navy has indeed been defeated at the hands of Ruggiero; aside, he expresses satisfaction that Alcina is at last going to pay dearly for her cruelty. Alcina, in despair, longs for oblivion. When Oberto reminds her of her promise to reunite him with his father, she maliciously brings a lion out of its cage, and orders Oberto to kill it with her dagger.
He knows it must be his father and, refusing, threatens her instead, before retreating with the dagger. In an attempt to prevent them, Alcina forswears any evil intentions, claiming only desire for their happiness. She offers to break the urn herself; but she has lost all hope of being trusted, and Ruggiero duly shatters the enchanted urn. Alcina and Morgana rush away, lamenting their doom. The part was created specifically by Handel to showcase the talents of a new discovery, the young William Savage.
Soon after, she returned to Paris in disgrace. Handel was playing his part, I could not help thinking of him a necromancer in the midst of his own enchantments.
ALCINA LIBRETTO PDF
Prologue[ edit ] The background of the opera comes from the poem Orlando Furioso. Bradamante is not the type to put up with the constant disappearance of her lover, and she spends vast portions of the poem in full armor chasing after him. Just before the opera begins she has rescued him from an enchanted castle, only to have her flying horse a hippogriff take a fancy to Ruggiero and fly off with him. Ruggiero and the hippogriff land on an island in the middle of the ocean.
Alcina, HWV 34
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