Above: Nobuki Momma as Riccardo in the dell'Arte Opera's production of Francesca Caccini's LA LIBERAZIONE DI RUGGIERO; photo by Brian Long
Author: Oberon
Sunday August 11th, 2019 matinee - dell'Arte Opera presenting Francesca Caccini's LA LIBERAZIONE DI RUGGIERO, the first opera composed by a woman, down at La MaMa. Francesca Caccini was the daughter of the legendary singer and court musician Giulio Caccini.
Written to celebrate a visit by the of Archduke Karl of Styria (part of Austria) to Florence during the carnival season of 1625, the opera is set to a libretto by Ferdinando Saracinelli, and is based on an episode from Ludovico Ariosto’s enduringly popular epic poem ORLANDO FURIOSO. The story tells of the rivalry between two sorceresses, Alcina and Melissa, who compete for possession of the knight Ruggiero.
Handel's opera ALCINA tells the same tale, with Alcina and Ruggiero as the protagonists. Melissa, who in the Caccini is employed by Ruggiero's lover, Bradamante, to free Ruggiero from the spell Alcina has cast on him, does not appear in Handel's scenario; but a basso character named Melisso serves much the same purpose. Astolfo, Bradamante's cousin, gets a mention in the Handel; Caccini gives the hapless young man a larger role.
Following an enchanting prelude, played by an excellent ensemble of seven Baroque musicians under lutist Charles Weaver's leadership, we have the Prologo: Neptune and the various river gods discuss the entertainment to be given in honor of the royal visit. From the Polish river, Vistula, comes a call for Apollo to aid in the celebration.
Brian Alvarado (above) displayed a voice of power and warmth as Neptune, but the singer's finest moments came later when he took on a subsidiary role as one of the hapless mortals transformed by Alcina into a plant. Here Mr. Alvarado, pleading to be restored to human form, was most moving.
Above: Robin Clifford, a lovely young woman with a pliant and lyrical voice, made a perfect impression as Vistula. Would that her role had been larger! Photo by Brian Long.
An small choir representing other rivers comment upon the discourse between Neptune and Vistula. Among them, we hear the distinctive voice of Tyler Dobies, with its sweet vibrato lending a halo of vulnerability to his lines. He will later appear - to fine effect - as Astolfo.
The opera proper now begins, in a simple setting of silhouetted trees and hanging vines.
The first of the competing sorceresses appears: Stephanie Feigenbaum (as Melissa, above) is clad in a corset-bodice, trousers, and high boots; she displays a flavorsome mezzo-soprano timbre, the voice even and finely-controlled, and she has the gift of making every word count.
Alcina's handmaidens now escort Ruggiero to the stage. Nobuki Momma personifies the ardent, lovesick young warrior to perfection. His is a handsome voice, expressive...and alive with subtle inflections.
Now Alcina appears; as the woman who has Ruggiero in her thrall, Merav Eldan displayed a vibrant voice with sexy undertones.
Above: Nobuki Momma as Ruggiero and Merav Eldan as Alcina; photo by Brian Long
Ruggiero and Alcina engage in a caressive mime-duet on the floor. It's clear that, in his present state, Ruggiero prefers love to his knightly duties: "How sweet to love a benevolent beauty!", he sings. A Shepherd (Christopher Fotis, appealing in both voice and presence) sings in praise of Cupid; then Alessandra Altieri as a bejeweled Siren urges Ruggiero to "Follow Love!" Ms. Altieri's vignette was a highlight of the afternoon: she sang well, and made her smallish role seem musically indispensable.
Mr. Momma responds to the Siren's counsel with some outstanding singing. He then falls asleep, and in that state he is approached by Melissa; Ms. Feigenbaum's recitar cantando here is excellent, as she bids the young man return to reality, to his duties, and to his beloved Bradamante. Mr. Momma yet again impresses with dramatic, well-modulated singing; he vows to cast off Alcina's chains of love.
The dread consequences of Alcina's penchant for turning people into animals or plants is now manifested when an ensemble of botanicals appear and beg Ruggiero to save them from their wretchedness. Here Brian Alvarado's plea is truly moving, and it draws a compassionate reply from Mr. Momma's Ruggiero. Tyler Dobies also has a chance to shine here: what an intrinsically appealing voice.
Ms. Eldan as Alcina returns to find her paramour absent. Her courtiers inform her of Ruggiero's impending departure, and when the knight returns - now in his armor - the women urge him to stay with Alcina. When he balks, Ms. Eldan proceeds to lay a tearful guilt trip on him, to which Mr. Momma offers a dramatic retort, which turns softly expressive. In a desperate attempt to cast a spell, Ms. Eldan is at her most impressive. Her magic fails her, and, thwarted by her nemesis Melissa, she withdraws.
As Astolfo, Tyler Dobies is finally freed from his plantlike state. He beseeches Melissa to liberate everyone who has been enslaved by Alcina; this the good sorceress does, leading to a finale of rejoicing.
All production photos by Brian Long, courtesy of dell'Arte Opera.
Above: the composer Francesca Caccini. Read about her here.
~ Oberon