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© Julien Benhamou
Francesca Caccini: Alcina
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 May 2026 | ||||||
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The Liberation of Ruggiero from Alcina’s Island Komische
Opera in Four Scenes and Prologue, Libretto by Ferdinando Saracinelli, premiered in Florence in 1625.
Synopsis
Prologue/First Scene: Shoreline
The god Neptune rises from the sea to honor the "son of the Sarmatian king," the Polish Crown Prince Władysław Sigismund, who is a guest of the Medici in Florence. To this end, he summons water deities and the river Vistula. The river god requests Phoebus to musically celebrate the prince’s glory. The others agree, and Neptune presents the following spectacle in which Ruggiero renounces his love for the “wicked Alcina.”
Second Scene: Alcina’s Island
The sorceress Alcina has created her own realm on her island. There, she seduces men and transforms them into stones or plants as soon as she loses interest in them. Her latest victim is the pagan knight Ruggiero. He has forgotten his former heroic life and now only indulges in love. Ruggiero is engaged to Bradamante, the Christian Countess of Marseille. They are destined to found the Este noble family. Therefore, the sorceress Melissa has taken on the task of freeing Ruggiero from Alcina.
At the beginning of the action, Melissa arrives on Alcina’s island riding a dolphin. To gain Ruggiero’s trust and return him to his warrior path, she takes on the form of his old teacher, the African magician Atlante.
Ruggiero and Alcina appear with some of Alcina’s maidens. The maidens extol the joys of love and congratulate Ruggiero. Ruggiero assures Alcina of his deepest love, and she swears to fulfill all his desires. However, she must first attend to matters of her realm. Ruggiero is to rest in nature. The maidens and Ruggiero sing about the beauty of the landscape and love. A shepherd sings a song about his own happy love experiences, and a siren calls to follow Cupid. Ruggiero falls asleep.
Melissa/Atlante seizes the opportunity to approach Ruggiero. She reminds him of the wars raging across Libya and Europe. He should abandon his shameful life, confront his enemies, and gain glory. Ruggiero’s enchantment is immediately broken. He asks for forgiveness for his guilt, renounces Alcina, and is ready to leave. The men turned into plants plead with him to persuade Atlante to break their enchantment and take them with him. Melissa promises to fulfill this wish.
The rejoicing of the plants comes to a sudden end when Alcina returns with her maidens and finds her lover missing from where she left him. One of the maidens tries to calm her. But then Alcina’s confidant Oreste appears as a messenger, reporting that she saw Ruggiero being armed by a white-haired man. The man then suddenly transformed into a majestic woman, revealed herself as Melissa, and reminded Ruggiero of his beloved Bradamante. Ruggiero declared his intention to leave Alcina. Alcina will not let this go unchallenged. As Ruggiero prepares to leave, she begs him to consider her suffering and loyalty. However, Ruggiero is unmoved by tears or threats. Instead, he asks Melissa to also free his friend Astolfo, who has been turned into a myrtle on the beach. Melissa promises to rescue all prisoners, including the noble ladies who were transformed into plants during their rescue attempts.
Third Scene: The Burning Island
In her anger at Ruggiero’s hardness of heart, Alcina sets the entire island and the sea ablaze. She herself appears in a large ship made of whale bones and summons terrible monsters to boast of their cruelty. Meanwhile, Melissa has freed Astolfo and the others. Her power is greater than Alcina’s, so it is no difficulty for her to banish the monsters back to the underworld. Alcina has only the option of fleeing. She boards a ship that transforms into a winged sea monster and flies away with her.
Fourth Scene: Rocky Landscape
The island now appears in its true desolate form. Melissa reminds the freed prisoners of Alcina’s misfortune, who could not control her passions. The seductive landscape has ultimately proved to be a wasteland. She urges them to enjoy the regained happiness.
A noble dance follows with eight ladies of the archduchess and eight knights. One of the de-enchanted ladies laments her still-absent lover, upon which Melissa quickly frees the remaining men. A joyful knightly ballet on horseback follows. Finally, everyone sings together the eight-part madrigal “Tosche del sol più belle” – a praise of the beauty of the Tuscan women, who are to serve as an example of fidelity for the freed ladies.
Program and cast
VIP CATEGORY: Best seats in house with complimentary glass of champagne and programme.
PRESTIGE CATEGORY: Excellent seats with complimentary glass of champagne and programme.
Ensemble I Gemelli
Emiliano Gonzalez Toro: Conductor
Palace of Versailles Opera Theater
Royal Opera
The Royal Opera of Versailles, located in the grounds of the Castle, one of the major opera houses.
The opening of the opera house at Versailles brought to a close a process of planning, projects and designs that had lasted for nearly a century. While the Royal Opera was finally built towards the end of the reign of Louis XV, it had been envisaged since as early as 1682, the year when his predecessor Louis XIV took up residence at Versailles. The King had commissioned Jules Hardouin-Mansart and Vigarani to draw up plans for a ballet theatre. Mansart shrewdly decided on a position at the far end of the new wing that was to be built over the coming years: the nearby reservoirs for the gardens’ fountains could be used to fight any fire that might break out, while the sloping ground on that part of the site would allow provision of the necessary technical spaces below the stage without major excavation work. So cleverly-chosen, indeed, was the planned location that none of Mansart’s successors ever questioned it.
Major building work was already under way in 1685, but was soon interrupted because of the wars and financial difficulties which beset the later part of the king’s reign. Louis XV in his turn was long put off by the huge expense involved in the project. As a result, for almost a century the French court was forced to put up with a makeshift theatre installed below the Passage des Princes. When a grand opera was required, with a large cast and complicated stage machinery, a temporary theatre would be built in the stables of the Grande Ecurie, with the entire structure being demolished once the performances were over. This temporary solution was adopted, for instance, during the celebrations of the Dauphin’s wedding in February 1745, but its inconvenience was so starkly obvious that Louis XV finally resolved to build a permanent theatre, entrusting its design to his first architect, AngeJacques Gabriel.
The process of actually building the new theatre, however, was to take over twenty years. During this lengthy period of construction Gabriel, who had studied the leading theatres of Italy, in particular Vicenza, Bologna, Parma, Modena and Turin, presented a series of different designs to his royal patron, none of which was accepted. Only in 1768, faced with the forthcoming successive marriages of his grandchildren, did the king finally give the order for work to commence. Building progressed steadily and the new opera house was completed in twenty-three months, ready for its inauguration on the 16th of May 1770, the day of the Dauphin’s marriage to the Archduchess Marie-Antoinette, with a performance of Persée by Quinault and Lully.
Royal Chapel
This extraordinary two-level palatine chapel was built by Jules Hardouin Mansart between 1699 and 1708 and completed by Robert de Cotte in 1710.
The paintings on the vaulted ceiling by Antoine Coypel, Charles de la Fosse and Jean Jouvenet, as well as the lavish decoration fashioned by a team of sculptors working for Louis XIV, depict a number of Old and New Testament scenes. Facing the royal gallery is the remarkable organ, created by Robert Clicquot, the King's organ builder, which was first played on Easter Sunday 1711 by François Couperin.
Even though Hardouin-Mansart did not witness the completion of the chapel, he was the one who had dictated the major aspects of the architecture and decor: a ground floor with a nave, aisles and ambulatory, and an upper floor with galleries, a harmonious combination of white and gold contrasting with the polychromatic marble floor and paintings on the vaulted ceiling, all combining to create an original space with references to both gothic architecture and baroque aesthetics.
Every day, generally at 10 a.m., the court would attend the King's mass. The King would sit in the royal gallery, surrounded by his family, while the ladies of the court would occupy the side galleries. The "officers" and the public would sit in the nave. The King would only descend to the ground floor for important religious festivals when he would take communion, for Order of the Holy Spirit ceremonies and for the baptisms and weddings of the Children of France, which were celebrated there between 1710 and 1789. Above the altar, around the Cliquot organ played by the greatest virtuosos of their age, including François Couperin, the Chapel Choir, renowned throughout Europe, would sing motets throughout the entire service, every day.
The Orangerie gardens
From May to October, orange trees and other shrubs are taken out of the Parterre Bas of the Orangerie gardens. At the center of this parterre, there is a large circular pool surrounded by six sections of lawn.
Orangerie
A great stone cathedral within a formal garden, The Orangerie is both a royal and magical place.
Built between 1684 and 1686 by Jules Hardouin-Mansart to house and protect precious trees and shrubs during the Winter, this extraordinarily large building is located beneath the parterre du Midi (South flowerbed), for which it acts as a support. Two monumental staircases, known as "les Cent Marches" (the hundred steps), frame the Orangerie's three galleries, which overlook the parterre where, during the Summer, more than 1,200 exotic trees are arranged.
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