La Liberazione di Ruggiero dall’isola d’Alcina is also the first to evoke the character of the poisonous Alcina and her spells. The libretto by court poet Ferdinando Saracinelli features poems that were famous in their day by Ariosto (Orlando Furioso), Boiardo and Tasso, blending the chivalrous and the marvellous.
On an enchanted island, the knight Ruggiero finds himself torn between two women magicians. He is seduced by the beautiful and dangerous Alcina before being reminded of his duty by the good fairy Melissa – representing the Grand Duchess of Tuscany who commissioned the opera in 1625 to celebrate the visit of the Crown Prince of Poland to whom she wished to marry her daughter.
Composer Francesca Caccini (1587-approx.1641) was an exemplary figure in the musical blossoming of the first half of the Italian 17th century. Her graceful art flourished at the court of the Medicis in Florence, where she delighted her contemporaries and was admired for her many musical talents, particularly her singing concerts where she accompanied herself on the lute. Her refined writing enlivens this supernatural story with a blend of melodious arias, character-revealing recitatives and choruses of monsters and enchanted plants.
At the head of his ensemble, I Gemelli, which he founded with Mathilde Etienne, Emiliano Gonzalez Toro directs a cast and musicians well-versed in this repertoire, paying tribute to the beauty of this music, our Baroque offering for the season.
After the concert, the I Gemelli ensemble will be signing CDs in the Opera’s main hall.
First performance February 3, 1625, at Villa di Poggio Imperiale, Florence
Considéré comme l’un des plus fins spécialistes de Haendel de sa génération, Juan Sancho campe les rôles de Lurcanio (Ariodante) à l’Opéra de Lausanne, Grimoaldo (Rodelinda) à l’English National Opera, au Teatro Real de Madrid et au Théâtre des Champs-Elysées, Oronte (Alcina) au Bolchoï, Bajazet (Tamerlano) à Madrid et Tempo (Il trionfo del Tempo e del Disinganno) à Madrid. Il a sorti un album solo dédié à Haendel baptisé «The Seven Deadly Sins» et enregistré également du Haendel au côté de Nuria Rial pour Deutsche Harmonia Mundi («Human Love, Love Divine»). Il a collaboré avec de nombreux chefs, parmi lesquels Michel Corboz, William Christie, Fabio Biondi, Jordi Savall, Diego Fasolis, Marc Minkowski, Ivor Bolton, George Petrou, Leonardo García Alarcón, Riccardo Minasi, Hervé Niquet, Jan Tomasz Adamus et Václav Luks. Parmi ses engagements futurs, on citera: Vitalino dans Il Giustino de Vivaldi à Drottinghom, Belshazzar de Haendel à Göttingen, Achille in Sciro de Corselli au Teatro Real de Madrid et le rôle-titre dans Orphée de Gluck à Bienne-Soleure.
À l’Opéra de Lausanne: Ariodante (2016).