èßäAV

Alcina
by George Frideric Handel

Alcina

by George Frideric Handel

A quick overview of Handel’s 1735 epic tale of knights and sorcery.

Recommended for Grades 6-12

In this resource, you will:

  • Learn the opera’s background and synopsis
  • Meet the opera’s composer

 


Premiered

1735

LIBRETTO by

Riccardo Broschi

Languages

German and Italian

Background

Alcina is one of three Handel operas based on Ludovico Ariosto’s epic work, Orlando Furioso. Handel’s other two operas, both of which debuted in his adopted hometown of London, were Orlando and Ariodante. Written just over 500 years ago and told in poetic verse, Ariosto’s Orlando Furioso may be the perfect story for you if you’re a fan of mystery, magicians, flying hippogriffs, slimy sea monsters, ugly witches who disguise themselves as fair young maids, or tales of true love trying desperately to conquer all.

Ariosto’s original text inspired many other works of art besides Handel’s three stage productions, including  Antonio Vivaldi’s The Four Seasons and certain scenes in Shakespeare’s Much Ado About Nothing.

Synopsis

Alcina, a beautiful enchantress with a habit of turning people who annoy her into animals and inanimate objects, has succeeded in bewitching Ruggiero, a handsome knight. Ruggiero has been living with Alcina on her magical island for some time, despite the fact he was meant to go down in history as a virtuous hero.

This irritates Bradamante, Ruggiero’s former girlfriend whom he had promised to marry. She and the magician Melisso travel to Alcina’s island hoping to bring Ruggiero back to his senses with the help of a magic ring. Bradamante disguises herself as her brother, “Ricciardo”; and, she and Melisso show up on Alcina’s doorstep claiming to be shipwrecked sailors.

Their plans go downhill quickly, however, when Alcina’s sister, Morgana, falls instantly in love with Ricciardo. To make matters worse, Ruggiero refuses to give Alcina up, even after being confronted by his fiancée’s “brother.” Meanwhile, Alcina’s army general, Oronte, who’s crazy about Morgana, announces to Ruggiero that Alcina has heart eyes for the newly arrived Ricciardo. Still, thanks to Alcina’s powers of persuasion, Ruggiero pretty much remains under her spell... that is until Melisso, pretending to be Ruggiero’s old tutor, Atlante, manages to get Ruggiero alone and slips the enchanted ring on his finger.

Did you get all that?

Shocked to discover that Alcina’s island is just smoke and mirrors, Ruggiero instantly regrets his lovesick behavior. But when Bradamante returns and reveals her true self, Ruggiero doubts his own senses and worries that her image is yet another trick.

Bradamante has nearly had enough, but Ruggiero eventually decides to fool Alcina into letting him leave her heavily guarded castle for an impromptu “hunting trip” (while actually secretly plotting to leave the island for good). Alcina eventually uncovers the truth and is furious, but she’s too late—soon Ruggiero has begged for Bradamante’s forgiveness. The two officially become a couple again, and, to add insult to injury for Alcina, the enchantress’s magical abilities begin to fade.

Phew. Are you following all this?

On the run from the sorceress and her henchmen, Ruggiero, Bradamante, and Melisso develop a plan to conquer Alcina’s army and destroy the mystical urn that lends the enchantress most of her power. But can these three righteous warriors succeed in their efforts? Will they be able to rescue all the captives of the island and escape with everyone’s life and limbs intact? Will the vengeful and heartbroken Alcina let them go?

Meet the Artists


Listen to the Story

alcina-2-169.jpg

Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Handel’s 1735 epic tale of knights and sorcery, Alcina.

Watch a Summary

An animated guide to Handel’s Alcina.

Watch an Excerpt

Watch

Watch

Kennedy Center Logo

  • Written by

    Eleni Hagen

  • Edited by

    Lisa Resnick

  • Produced by

    Kennedy Center Education
    Digital Learning

Related Resources

Media Tamerlano

A quick overview of Handel’s 1724 tragic opera set in the Ottoman Empire.

Media Opera’s Baroque Era: 1600-1750

A brief overview of the dawn of opera, which was born in Italy—or what we now think of as Italy—at the turn of the 17th century. Expect some insight into opera’s many influences as well as a summary of the early genre’s notable features.

Media Viva La Diva!

A beginner’s guide to some of opera’s most challenging female roles and a unique look at how opera does girl power.

Kennedy Center Education Digital Learning

Eric Friedman 
Director, Digital Learning

Kenny Neal 
Manager, Digital Education Resources

Tiffany A. Bryant 
Manager, Operations and Audience Engagement

JoDee Scissors 
Content Specialist, Digital Learning

Connect with us!

spacer-24px.png                email.png

Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.