La liberazione di Ruggiero dall’isola di Alcina is the oldest known opera written by a woman to have survived to the present day, making it a significant testament to women's contributions to composition. Francesca Caccini (1587-1640) came from a musical family; her father, Giulio Caccini, was a renowned composer. Francesca achieved considerable success and recognition during her lifetime. Her work premiered in 1625, a period when operas were typically private performances, staged for the entertainment of royal families and their guests. La liberazione was composed to commemorate the visit of Prince Władysław of Poland to the Medici Court in Florence. The libretto is rich with references to the beauty of Tuscan women and landscapes, as well as the customary praise of the ruling monarchs.
The plot is inspired by Orlando furioso, a poem by Ludovico Ariosto written in the early 16th century, which became a popular source for countless musical adaptations, the most famous of which is Handel's Alcina. Ferdinando Saracinelli's libretto centres the story around two women: Alcina and Melissa, a wicked witch and a benevolent sorceress. This choice may reflect the political dynamics at the Medici Court where, following the death of Cosimo II, power was largely in the hands of two influential women: his widow, the regent Archduchess Maria Maddalena of Austria, and his mother, Cristina of Lorraine. The identities of the ‘good’ and ‘bad’ witch in this context are left to interpretation.
Opéra de Lausanne described this as a “concert performance”, yet the singers brought the roles to life through expressive acting and meaningful interactions, complemented by minimal staging. The ensemble I Gemelli, known for its expertise in 17th-century Italian music, delivered a well-rounded performance; the thirteen musicians on stage, including a lirone and a splendid Welsh triple harp, played without a conductor. Their usual conductor, Emiliano Gonzales Toro, was occupied singing the role of Ruggiero, leaving the musicians to rely on their deep, instinctive understanding developed over years of collaboration. Occasionally, the singers themselves assisted the orchestra with tricky entrances or tempo changes, but the musicians primarily depended on each other, resulting in a performance that was not only a joy to hear but also a pleasure to watch.
All the singers are experts in this repertoire, sharing a deep understanding of the style and delivering flawless Italian pronunciation – essential for a work dominated by the stile recitativo. Alix le Saux portrayed Alcina with a warm, well-rounded soprano. Although her vibrato on high notes initially sounded slightly metallic, she soon settled into a more natural and pleasing tone, even in the upper register. Her thunderous outburst when Alcina discovers Ruggiero's betrayal was powerful, while her heartbroken lament conveyed a moving blend of rage and sorrow.
Lorrie Garcia took on the role of Melissa, the ‘good magician’ who breaks the spell of sensual enchantment that Alcina has cast over Ruggiero. Her rich mezzo conveyed the authority needed to restore Ruggiero’s sense of honour and duty, and her commanding stage presence enhanced this effect. Her lower register was robust, while her high notes were clear and beautiful. Emiliano Gonzales Toro’s warm, resonant tenor captured the full range of Ruggiero’s character, shifting from playful and youthful during his enchantment to strong and resolute as he regained his awareness as a Christian warrior.
In this opera, as in Monteverdi's L'Orfeo, the central plot-driving event – Eurydice's death in Orfeo and Ruggiero's betrayal here – is not depicted on stage but conveyed by a messenger. Natalie Pérez performed this role admirably, delivering the news with a warm, sunny mezzo-soprano and an emotional touch. Juan Sancho took on the roles of Neptune, the god of the sea, in the brief prologue, and the warrior Astolfo, who is under Alcina’s enchantment. His high, well-projected tenor had a natural, effortless quality, almost like speech, which perfectly suits this repertoire. His performance was one of the highlights of the evening.
The story features a variety of characters, including mermaids, monsters, shepherds, and Alcina's ladies-in-waiting, with each cast member performing two or more roles, as is customary in operas from this period. Mathilde Etienne, who oversaw the staging and direction, also shone as a mermaid, her soprano voice gleaming with a silvery quality. Nicolas Brooymans, the sole bass, delivered an elegant and suitably menacing performance as a monster. Jordan Mouaïssia sang the roles of a shepherd and Vistola with a high, pleasing tenor. The cast was rounded out by Cristina Fanelli and Pauline Sabatier, who skilfully contributed to the overall success of the performance.
