La Dori

Pietro Antonio Cesti’s 1657 dramma musicale La Dori is a hoot.  It seems to prefigure every plot device that will ever be used in opera.  A baby sold by bandits who turns out to be a princess.  Pirates. A ghost. Mistaken identities.  Swapped potions. Men pretending to be women.  Women pretending to be men.  Love polygons of fiendish complexity.  I won’t even attempt to explain the plot because it’s very complex and silly and hardly matters.  It took me a half page diagram just to map the relationships between the characters.

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Cavalli’s Elena

Cavalli is a rather neglected composer. Something like thirty of his operas exist but few are ever performed and only one, La Calisto, appears at all frequently. It’s hard to see why. He was Monteverdi’s pupil and a worthy successor whose work was decidedly popular in his lifetime. It’s even harder to see why a work like Elena could have been ignored for 350 years before being revived at the Aix en Provence Festival in 2013. It’s really got the same things going for it as Il coronazione di Poppea. There’s sex, homoeroticism, mythology, cross dressing, a weird (Shakespearean?) mix of the serious and the comic and some really lovely music. The only downside I can see is a rather convoluted plot and the fact that one of the leading roles was written for a high castrato.

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