Nicola Vaccaj was a contemporary of Rossini and composer of numerous operas of which only his 1825 work Giulietta e Romeo survives. It was produced and recorded at the Festivale della Valle d’Itria in 2018 on the outdoor stage of the Palazzo Ducale in Martina Franca. Giulietta e Romeo, like Bellini’s work on the same subject, is based on earlier material rather than the Shakespeare play and it’s quite different apart from the basic faked death and dual suicide at the end. Here we are less concerned with two young lovers. There’s more broad-scale political stuff. Romeo commands the Ghibelline army that is besieging the Guelfs (including the Capulets) in Verona. He has already killed Giulietta’s brother in battle and the lovers have known each other for some time. So Romeo is rather more than a boy though still sung by a mezzo. The themes are more about bereavement and revenge than young love. The conflict is more than a quarrel between two urban dynasties.
Vivaldi’s Orlando Furioso is based, like so many operas, on an episode in Ariosto’s work of the same name. In this case it relates the events that take place during Orlandos stay on the enchanted island of the sorceress Alcina. There are two love triangles, enchantments and Orlando goes mad before order is restored, the island is disenchanted and Alcina, as befits a woman who gets uppity in an eighteenth century opera, is restored to her rightful place in the Outer Darkness. Structurally it’s pretty typical of the period with a lot of showy arias in a variety of forms plus a couple of decent choruses.