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.
It’s a rare and valuable experience when a performance makes one reconsider a perhaps overly familiar work. That’s the effect that Claus Guth’s 2009 staging of Handel’s Messiah had on me. I don’t think that there is any piece I’m more familiar with than Messiah. I feel like I’ve known it all my life. I’ve sung it. I own a vocal score (rare indeed for me!). I couldn’t begin to count how many times I’ve heard it. And yet here it came up entirely fresh and had me thinking about it in completely new ways.