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But to summon up wondrous spells, Handel did not just make use of spectacular sets made to move by ingenious machinery, as evidenced by the beauty and elegance of his score.Hence Ruggiero’s two arias that open the second act of Alcina highlight his release from the spell that enables the hero to break free of Alcina’s clutches just as the “machines” do. Between the first and second arioso, Melisso, the wizard who kidnapped Ruggiero, uses white magic against Alcina.A ring slipped on Ruggiero’s finger is sufficient to open the eyes of the paralysed lover.We see the room in Alcina’s castle transform into a “horrible and deserted place”, and we hear Ruggiero go from plaintive and languorous (“Col celarvi a chi v’ama”) to a song expressing amazement:“Qual portento”.The magic of the sounds and the voice depict the sudden and welcome reversal:Ruggiero forgets the enchantress and thinks only of Bradamante, the legitimate fiancée he chased out of his heart.
While the libretto used by Handel shows some variations in regard to the tradition, he includes most of the characteristics of the Alcina character, the formidable sorceress who uses her powers to bewitch warriors whom she keeps prisoner in her enchanted island. Given that, I think the writers did a pretty incredible job in wrapping up their story, but you still end up with a finale that feels a little rushed.
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Alcina: the Last Pleasures of an Enchanted World
This year, a new production of Alcina , the « magical » opera written by Handel, is given for the opening of the Aix-en-Provence Festival, with Patricia Petibon singing the role-title alongside Philippe Jaroussky and Anna Prohaska .
The occasion to (re)discover the enchanting work by the Germano-British composer, talking about freedom as well as bewitching seduction against true love, being maybe quite representative of its era. As the illusive world of the sorceress Alcina fades progressively into the reality, the work of Handel (his last major success) marks the turn of the british lyrical scene of the time. Many problems that we study to better understand the opera and its context at the eve of the 2015 Aix-en-Provence Festival.
Alcina holds a unique place in Handel’s career (1685-1759). Of his forty operas, the fourth summons up spells from enchanted worlds ruled by an enchantress.It was the third one whose subject matter was taken from Orlando furioso, the famous poem written by Ariosto in the early 16 th century.It was the second one written for audiences at the new Covent Garden Theatre, which opened in 1732. And, finally, it was the composer’s last great London success.It ran for 18 days, a remarkable achievement for the time.Like Alcina, the seductive and ever-changing sorceress transformed by love, Handel is in a bewitching musical world that lends itself readily to all the spectator’s expectations:Alcinacan be viewed as a mere baroque divertissement, a very successful example of a “magic” opera, generally making use of special effects.The work can also be seen as a moral allegory on the danger of easy pleasure.Or perhaps as the reassuring triumph by a pair of mortals over the deceptive powers of magic?It is also a paean to love and freedom won back.While attending a rehearsal of Alcina at Handel’s house, a loyal friend of the composer, a Mrs Pendarves, exclaimed rapturously over this opera:“The best (Handel)ever made (…), it’s so beautiful I have no words to describe it…. As Mr Handel played his part, I could not help imagining him as a necromancer in the middle of his own spells.”The love Alcina feels for Ruggiero ends up stripping her of her magic powers by making her the prisoner of her own desires.She disappears, vanquished by the courage and constancy of her rival Bradamante, who, it turns out, is not a mere mortal.The enchanted world evaporates when Ruggiero breaks an urn containing the fairy’s powers, and everything returns to normal.Alcina was the last enchantress written by Handel.While the “opera seria” world was cracking open to allow room for comedic opera, Alcina was slipping away, taking with her one of the last pleasures of an enchanted world. Handel gave up opera five years later with Deidamia (1741). Turning away from the theatre, he devoted himself primarily to the oratorio, producing huge masterworks one after another, first his renowned Messiah (1742) and then, a few months later, Samson (1743).
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