Faust is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part One. It debuted at the Théâtre Lyrique on the Boulevard du Temple in Paris on 19 March 1859, with influential sets designed by Charles-Antoine Cambon and Joseph Thierry, Jean Émile Daran, Édouard Desplechin, Philippe Chaperon; the original version of Faust employed spoken dialogue, it was in this form that the work was first performed. The manager of the Théâtre Lyrique, Léon Carvalho cast his wife Marie Miolan-Carvalho as Marguerite and there were various changes during production, including the removal and contraction of several numbers; the tenor Hector Gruyer was cast as Faust but was found to be inadequate during rehearsals, being replaced by a principal of the Opéra-Comique, Joseph-Théodore-Désiré Barbot, shortly before the opening night. After a successful initial run at the Théâtre Lyrique the publisher Antoine Choudens, who purchased the copyright for 10,000 francs, took the work on tour through Germany, Belgium and England, with Marie Miolan-Carvalho repeating her role.
Performances in Germany followed, with Dresden Semperoper in 1861 being the first to bill the work as Margarethe rather than Faust. For many years this custom - or alternatively, staging the opera as Gretchen - continued in Germany; some sources claim this was out of respect for Part I of Goethe's poetic drama, which the opera follows closely. Others claim the opposite: that the retitling was done to emphasise Gounod's opera's reliance on Goethe's characters, to differentiate it from Spohr's Faust, which had held the stage for many years in Germany and had appeared in a three-act revision, it is possible that the 1861 Dresden title change was out of respect for Spohr's close and long association with the city. The opera was given for the first time in Italy at La Scala in 1862 and in England at Her Majesty’s Theatre, London in 1863. In 1864, when the opera was given at the same venue in English, Gounod took a theme from the prelude to the opera and wrote a new aria for the star baritone Charles Santley in the role of Valentin,'Even bravest heart may swell'.
This number was translated into French for subsequent productions as ‘Avant de quitter ces lieux’ and has become one of the most familiar pieces from the opera. In 1869 a ballet had to be inserted before the work could be played at the Opéra: it became the most performed opera at that house. With the change from spoken dialogue to sung recitatives, plus the musical and balletic additions, the opera was thus transformed into a work following the conventions of grand opera. Although the opera is still performed, it no longer sits in the "top twenty" performed worldwide, it was Faust with which the Metropolitan Opera in New York City opened for the first time on 22 October 1883. It is the eighth most performed opera there, with 753 performances through the 2012-2013 season, it was not until the period between 1965 and 1977 that the full version was performed, all performances in that production included the Walpurgisnacht ballet. Place: Germany Time: 16th century Faust's cabinet Faust, an aging scholar, determines that his studies have come to nothing and have only caused him to miss out on life and love.
He stops each time when he hears a choir. He curses science and faith, asks for infernal guidance. Méphistophélès appears and, with a tempting image of Marguerite at her spinning wheel, persuades Faust to buy Méphistophélès's services on earth in exchange for Faust's in Hell. Faust's goblet of poison is magically transformed into an elixir of youth, making the aged doctor a handsome young gentleman. At the city gates A chorus of students and villagers sings a drinking song. Valentin, leaving for war with his friend Wagner, entrusts the care of his sister Marguerite to his youthful friend Siébel. Méphistophélès appears, provides the crowd with wine, sings a rousing, irreverent song about the Golden Calf. Méphistophélès maligns Marguerite, Valentin tries to strike him with his sword, which shatters in the air. Valentin and friends use the cross-shaped hilts of their swords to fend off what they now know is an infernal power. Méphistophélès is joined by the villagers in a waltz. Marguerite appears and Faust declares his admiration, but she refuses Faust's arm out of modesty, a quality that makes him love her more.
Marguerite's garden The lovesick boy Siébel leaves a bouquet for Marguerite. Faust sends Méphistophélès in search of a gift for Marguerite and sings a cavatina idealizing Marguerite as a pure child of nature. Méphistophélès brings in a decorated box containing exquisite jewelry and a hand mirror and leaves it on Marguerite's doorstep, next to Siébel's flowers. Marguerite enters, pondering her encounter with Faust at the city gates, sings a melancholy ballad about the King of Thule. Marthe, Marguerite's neighbour, says it must be from an admirer. Marguerite tries on the jewels and is captivated by how they enhance her beauty, as she sings in the famous aria, the Jewel Song. Méphistophélès and Faust join the
The Marriage of Figaro
The Marriage of Figaro, K. 492, is an opera buffa in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786; the opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro, first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity; the opera is a cornerstone of the repertoire and appears among the top ten in the Operabase list of most performed operas. Beaumarchais's earlier play The Barber of Seville had made a successful transition to opera in a version by Paisiello. Beaumarchais's Mariage de Figaro was at first banned in Vienna. Mozart's librettist managed to get official approval from the emperor for an operatic version which achieved great success; the opera was the first of three collaborations between Da Ponte.
It was Mozart who selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor before any music was written by Mozart; the Imperial Italian opera company paid Mozart 450 florins for the work. Da Ponte was paid 200 florins. Figaro premiered at the Burgtheater in Vienna on 1 May 1786, with a cast listed in the "Roles" section below. Mozart himself directed the first two performances, conducting seated at the keyboard, the custom of the day. Performances were conducted by Joseph Weigl; the first production was given eight further performances, all in 1786. Although the total of nine performances was nothing like the frequency of performance of Mozart's success, The Magic Flute, which for months was performed every other day, the premiere is judged to have been a success.
The applause of the audience on the first night resulted in five numbers being encored, seven on 8 May. Joseph II, who, in addition to his empire, was in charge of the Burgtheater, was concerned by the length of the performance and directed his aide Count Rosenberg as follows: To prevent the excessive duration of operas, without however prejudicing the fame sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public to be the most reasonable expedient. You will therefore cause some posters to this effect to be printed; the requested posters were printed up and posted in the Burgtheater in time for the third performance on 24 May. The newspaper Wiener Realzeitung carried a review of the opera in its issue of 11 July 1786, it alludes to interference produced by paid hecklers, but praises the work warmly: Mozart's music was admired by connoisseurs at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves.
The public, however... did not know on the first day where it stood. It heard many a bravo from unbiased connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St! and Pst. Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition, but now, after several performances, one would be subscribing either to the cabal or to tastelessness if one were to maintain that Herr Mozart's music is anything but a masterpiece of art. It contains so many beauties, such a wealth of ideas, as can be drawn only from the source of innate genius; the Hungarian poet Ferenc Kazinczy was in the audience for a May performance, remembered the powerful impression the work made on him: Storace, the beautiful singer, enchanted eye and soul. -- Mozart directed the orchestra. Where could words be found that are worthy to describe such joy? Joseph Haydn appreciated the opera writing to a friend that he heard it in his dreams.
In summer 1790 Haydn attempted to produce the work with his own company at Eszterháza, but was prevented from doing so by the death of his patron, Nikolaus Esterházy. The Emperor requested a special performance at his palace theater in Laxenburg, which took place in June 1786; the opera was produced in Prague starting in December 1786 by the Pasquale Bondini company. This production was a tremendous success. Local music lovers paid for M
Bavarian State Opera
The Bavarian State Opera is an opera company based in Munich, Germany. Its orchestra is the Bavarian State Orchestra; the company's home base is the National Theatre Munich. The parent ensemble of the company was founded in 1653, under Electress consort Princess Henriette Adelaide of Savoy, when Giovanni Battista Maccioni's L'arpa festante was performed in the court theatre. In 1753, the Residence Theatre was opened as a major stage. While opera performances were held in the Prinzregententheater, the company's home base is the National Theatre Munich on Max-Joseph-Platz. In 1875, the Munich Opera Festival took place for the first time. Sir Peter Jonas became the general manager in 1993, the first British general manager of any major German-speaking opera house. In 2008, Nikolaus Bachler became general manager of the opera company; the current general music direktor of the company is Kirill Petrenko, since 2013. In 2014, the Bavarian State Opera received the Opernhaus des Jahres award from Opernwelt magazine.
In October 2015, the company announced the extensions of the current respective contracts of Bachler and of Petrenko through August 2021. Petrenko is scheduled to work as a guest conductor with the company in the final year of his current contract, the 2020–2021 season. Both Bachler and Petrenko are scheduled to stand down from their respective posts at the close of the 2020-2021 season. In March 2018, the company announced the appointments of Serge Dorny as its next general manager, of Vladimir Jurowski as its next Generalmusikdirektor, both effective with the 2021-2022 season. Bayerische Staatsoper official website Bayerisches Staatsorchester history Bayerisches Staatsorchester at the Bach Cantatas Website
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851, it is considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, Rigoletto's beautiful daughter Gilda; the opera's original title, La maledizione, refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father. La Fenice of Venice commissioned Verdi in 1850 to compose a new opera, he was prominent enough by this time to enjoy some freedom in choosing texts to set to music.
He asked Francesco Maria Piave to examine the play Kean by Alexandre Dumas, père, but soon came to believe that they needed to find a more energetic subject. That came. Verdi explained that "The subject is grand and there is a character, one of the greatest creations that the theatre can boast of, in any country and in all history." However, Hugo's depiction of a venal, womanizing king was considered unacceptably scandalous. The play had been banned in France following its premiere nearly twenty years earlier; as Verdi wrote in a letter to Piave: "Use four legs, run through the town and find me an influential person who can obtain the permission for making Le Roi s'amuse." Guglielmo Brenna, secretary of La Fenice, promised the duo that they would not have problems with the censors. He was wrong, rumours began to spread in early summer that the production would be forbidden. In August and Piave retired to Busseto, Verdi's hometown, to prepare a defensive scheme as they continued work on the opera.
Despite their best efforts, including frantic correspondence with La Fenice, the Austrian censor De Gorzkowski emphatically denied consent to the production of "La Maledizione" in a December 1850 letter, calling the opera "a repugnant immorality and obscene triviality." Piave set to work revising the libretto pulling from it another opera, Il Duca di Vendome, in which the sovereign was a duke and both the hunchback and the curse disappeared. Verdi was against this proposed solution, preferring to negotiate directly with the censors over each and every point of the work. Brenna, La Fenice's sympathetic secretary, mediated the dispute by showing the Austrians some letters and articles depicting the bad character, but great value, of the artist. By January 1851 the parties had settled on a compromise: the action of the opera would be moved, some of the characters would be renamed. In the new version, the Duke would belong to the Gonzaga family; the scene in which he retired to Gilda's bedroom would be deleted, his visit to the Taverna would no longer be intentional, but the result of a trick.
The hunchbacked jester was renamed Rigoletto from a parody of a comedy by Jules-Édouard Alboize de Pujol: Rigoletti, ou Le dernier des fous of 1835. By 14 January, the opera's definitive title had become Rigoletto. Verdi completed the composition on 5 February 1851, a little more than a month before the premiere. Piave had arranged for the sets to be designed while Verdi was still working on the final stages of Act 3; the singers were given some of their music to learn on 7 February. However, Verdi kept at least a third of the score at Busseto, he brought it with him when he arrived in Venice for the rehearsals on 19 February, would continue refining the orchestration throughout the rehearsal period. For the première, La Fenice had cast Felice Varesi as Rigoletto, the young tenor Raffaele Mirate as the Duke, Teresa Brambilla as Gilda. Due to a high risk of unauthorised copying, Verdi demanded extreme secrecy from all his singers and musicians Mirate: the "Duke" had the use of his score for only a few evenings before the première, was made to swear that he would not sing or whistle the tune of "La donna è mobile" except during rehearsal.
Rigoletto premiered on 11 March 1851 in a sold-out La Fenice as the first part of a double bill with Giacomo Panizza's ballet Faust. Gaetano Mares conducted, the sets were designed and executed by Giuseppe Bertoja and Francesco Bagnara; the opening night was a complete triumph the scena drammatica and the Duke's cynical aria, "La donna è mobile", sung in the streets the next morning. Many years Giulia Cora Varesi, the daughter of Felice Varesi (th
Long Island is a densely populated island off the East Coast of the United States, beginning at New York Harbor 0.35 miles from Manhattan Island and extending eastward into the Atlantic Ocean. The island comprises four counties in the U. S. state of New York. Kings and Queens Counties and Nassau County share the western third of the island, while Suffolk County occupies the eastern two-thirds. More than half of New York City's residents now live in Brooklyn and Queens. However, many people in the New York metropolitan area colloquially use the term Long Island to refer to Nassau and Suffolk Counties, which are suburban in character, conversely employing the term the City to mean Manhattan alone. Broadly speaking, "Long Island" may refer both to the main island and the surrounding outer barrier islands. North of the island is Long Island Sound, across which lie Westchester County, New York, the state of Connecticut. Across the Block Island Sound to the northeast is the state of Rhode Island. To the west, Long Island is separated from the island of Manhattan by the East River.
To the extreme southwest, it is separated from Staten Island and the state of New Jersey by Upper New York Bay, the Narrows, Lower New York Bay. To the east lie Block Island—which belongs to the State of Rhode Island—and numerous smaller islands. Both the longest and the largest island in the contiguous United States, Long Island extends 118 miles eastward from New York Harbor to Montauk Point, with a maximum north-to-south distance of 23 miles between Long Island Sound and the Atlantic coast. With a land area of 1,401 square miles, Long Island is the 11th-largest island in the United States and the 149th-largest island in the world—larger than the 1,214 square miles of the smallest U. S. state, Rhode Island. With a Census-estimated population of 7,869,820 in 2017, constituting nearly 40% of New York State's population, Long Island is the most populated island in any U. S. state or territory, the 18th-most populous island in the world. Its population density is 5,595.1 inhabitants per square mile.
If Long Island geographically constituted an independent metropolitan statistical area, it would rank fourth most populous in the United States. S. state, Long Island would rank 13th in population and first in population density. Long Island is culturally and ethnically diverse, featuring some of the wealthiest and most expensive neighborhoods in the Western Hemisphere near the shorelines as well as working-class areas in all four counties; as a hub of commercial aviation, Long Island contains two of the New York City metropolitan area's three busiest airports, JFK International Airport and LaGuardia Airport, in addition to Islip MacArthur Airport. Nine bridges and 13 tunnels connect Brooklyn and Queens to the three other boroughs of New York City. Ferries connect Suffolk County northward across Long Island Sound to the state of Connecticut; the Long Island Rail Road is the busiest commuter railroad in North America and operates 24/7. Nassau County high school students feature prominently as winners of the Intel International Science and Engineering Fair and similar STEM-based academic awards.
Biotechnology companies and scientific research play a significant role in Long Island's economy, including research facilities at Brookhaven National Laboratory, Cold Spring Harbor Laboratory, Plum Island Animal Disease Center, State University of New York at Stony Brook, the New York University Tandon School of Engineering, the City University of New York, Hofstra Northwell School of Medicine. Prior to European contact, the Lenape people inhabited the western end of Long Island, spoke the Munsee dialect of Lenape, one of the Algonquian language family. Giovanni da Verrazzano was the first European to record an encounter with the Lenapes, after entering what is now New York Bay in 1524; the eastern portion of the island was inhabited by speakers of the Mohegan-Montauk-Narragansett language group of Algonquian languages. In 1609, the English navigator Henry Hudson explored the harbor and purportedly landed at Coney Island. Adriaen Block followed in 1615, is credited as the first European to determine that both Manhattan and Long Island are islands.
Native American land deeds recorded by the Dutch from 1636 state that the Indians referred to Long Island as Sewanhaka. Sewan was one of the terms for wampum, is translated as "loose" or "scattered", which may refer either to the wampum or to Long Island; the name "'t Lange Eylandt alias Matouwacs" appears in Dutch maps from the 1650s. The English referred to the land as "Nassau Island", after the Dutch Prince William of Nassau, Prince of Orange, it is unclear. Another indigenous name from colonial time, comes from the Native American name for Long Island and means "the island that pays tribute." The first settlements on Long Island were by settlers from England and its colonies in present-day New England. Lion Gardiner settled nearby Gardiners Island. T
Turandot is an opera in three acts by Giacomo Puccini, completed by Franco Alfano, set to a libretto in Italian by Giuseppe Adami and Renato Simoni. Though Puccini's first interest in the subject was based on his reading of Friedrich Schiller's 1801 adaptation of the play, his work is most nearly based on the earlier text Turandot by Count Carlo Gozzi; the original story is based on one of the seven stories in the epic Haft Peykar, a work of 12th-century Persian poet Nizami. Nizami aligned the seven stories with the seven days of the week, the seven colors and the seven corresponding planets; this particular story is the story of Tuesday, being told to King Bahram by his companion of the red dome, associated with Mars. In the first line of this story, the protagonist is identified as a Russian princess; the name of the opera is based on Turan-Dokht, a common name used in Persian poetry for Central Asian princesses. The opera's version of the story is set in China and involves Prince Calaf, who falls in love with the cold Princess Turandot.
To obtain permission to marry her, a suitor has to solve three riddles. Calaf passes the test, he offers her a way out: if she is able to learn his name before dawn the next day at daybreak he will die. In the original story by Nizami, the princess sets four conditions; the first is "a good name and good deeds", the three challenges. The opera was unfinished at the time of Puccini's death in 1924, was completed by Franco Alfano in 1926; the first performance was held at the Teatro alla Scala in Milan on 25 April 1926 and conducted by Arturo Toscanini. This performance included not Alfano's additions; the first performance of the opera as completed by Alfano was the following night, 26 April, although it is disputed whether this was conducted by Toscanini again or by Ettore Panizza. Turandot is a Persian word and name that means "the daughter of Turan", Turan being a region of Central Asia part of the Persian Empire; the name of the opera is taken with dokht being a contraction of dokhtar. However, note that the original protagonist in Nizami's story is identified in the first line of the Persian poem as being from Russia.
The story is known as the story of the "Red Dome" among the "Seven Domes" stories in Nizami's Haft Peykar. According to Puccini scholar Patrick Vincent Casali, the final t is silent in the opera's and title character's name, making it sound. Soprano Rosa Raisa, who created the title role, says. Eva Turner, a prominent Turandot, did not pronounce the final t, as television interviews with her attest. Casali maintains that the musical setting of many of Calaf's utterances of the name makes sounding the final t all but impossible. On the other hand, Simonetta Puccini, the composer's granddaughter and keeper of the Villa Puccini and Mausoleum, has said that the final t must be pronounced. Italo Marchini questioned her about this in 2002. Ms. Puccini said. In the Venetian dialect of Carlo Gozzi the final syllables are dropped and words end in a consonant, ergo Turandott, as the name has been made Venetian; the story of Turandot was taken from a Persian collection of stories called The Book of One Thousand and One Days – where the character of "Turandokht" as a cold princess was found.
The story of Turandokht is one of the best known from de la Croix's translation. The plot respects the classical unities of time and action. Puccini first began working on Turandot in March 1920 after meeting with librettists Giuseppe Adami and Renato Simoni. In his impatience he began composition in January 1921 before Adami and Simoni had produced the text for the libretto. Baron Fassini Camossi, the former Italian diplomat to China, gave Puccini as a gift a music box which played a number of Chinese melodies. Puccini used three of these in the opera, including the national anthem and, most memorably, the folk melody "Mo Li Hua", first heard sung by the children's chorus after the invocation to the moon in act 1, becomes a sort of'leitmotif' for the princess throughout the opera. Puccini commissioned a set of 13 gongs constructed by the Tronci family for Turandot. Decades percussionist Howard Van Hyning of the New York City Opera had been searching for a proper set of gongs and obtained the original set from the Stivanello Costume Company, which had acquired the gongs as the result of winning a bet.
In 1987 he bought the gongs for his collection, paying thousands of dollars for the set, which he described as having "colorful, intense and perfumed" sound qualities. By March 1924 Puccini had completed the opera up to the final duet. However, he was unsatisfied with the text of the final duet, did not continue until 8 October, when he chose Adami's fourth version of the duet text. On 10 October he was diagnosed with throat cancer and on 24 November went to Brussels, for treatment. There he underwent a experimental radiation therapy treatment. Puccini and his wife never knew how serious the cancer was, as the news was revealed only to his son. Puccini, seems to have had some inkling of the possible seriousness of his condition since, before leaving for Brussels
Orlando is an opera seria in three acts by George Frideric Handel written for the King's Theatre in London in 1733. The Italian-language libretto was adapted from Carlo Sigismondo Capece's L'Orlando after Ludovico Ariosto's Orlando Furioso, the source of Handel's operas Alcina and Ariodante. More an artistic than a popular success at its first performances, Orlando is today recognised as a masterpiece; the opera was first given at the King's Theatre in London on 27 January 1733. There were 10 further performances and it was not revived; the first production since Handel's lifetime was given at Halle, Handel's birthplace, in 1922. A production staged by the Barber Institute of Fine Arts in Birmingham, England, in 1966, conducted by Anthony Lewis, with Janet Baker in the title role, brought the opera back to London for the first time in over two centuries with performances the same year at Sadler's Wells Theatre; the United States premiere of the opera was presented by the Handel Society of New York in a concert version on 18 January 1971 at Carnegie Hall with Rosalind Elias in the title role.
The HSNY had made the first recording of the opera in 1970 in Vienna with a different cast for RCA Red Seal Records. Peter Sellars directed the first staged production of the work in the United States at the American Repertory Theater on 19 December 1981. Countertenor Jeffrey Gall sang Craig Smith conducted; as with all Baroque opera seria, Orlando went unperformed for many years, but with the revival since the 1960s of interest in Baroque music and historic performance practices, it has, along with most Handel operas, received numerous stagings both at festivals and in opera houses. Orlando was performed in London in abridged form in 1963 with Janet Baker in the title role. Among other performances, the opera was staged in Venice in 1985, Aix-en-Provence, Lyon, Brooklyn in 1994/5, Perth in 2000, at the Royal Opera House in London in 2003 and 2007, at Glimmerglass in 2003, in New York in 2005 and 2011, Zurich in 2006 and 2007, Tourcoing and Göttingen in 2008, Brussels in 2012, Bruges in 2013, Amsterdam in 2014.
The role of Orlando written for Senesino, the great alto castrato, is nowadays performed by a countertenor or a mezzo-soprano. The role of Medoro was written for a female alto, this voice is retained in modern performances; the characters of Dorinda and Angelica are performed by sopranos, Zoroastro by a bass. Orlando, a great soldier in Charlemagne's army, falls in love with the pagan princess Angelica, in turn in love with another man, Medoro. Orlando cannot accept this and he is driven to madness, prevented from causing absolute carnage only by the magician Zoroastro. On the summit of a mountain, at night - The wizard Zoroastro scans the heavens and sees signs in the stars that the warrior Orlando will once more turn to deeds of valour and recover from his passion for the princess of Cathay, Angelica. Orlando himself appears, torn between duty. With a wave of his wand, the magician conjures up disturbing visions of the great heroes of antiquity asleep at Cupid's feet. Zoroastro urges Orlando to forget Venus, the goddess of love, once more follow Mars, god of war..
Orlando is at first shamed by Zoroastro's words but decides love and duty do not conflict, reflecting that Hercules was not robbed of his status as a hero by his affair with Queen Omphale, or Achilles by disguising himself for a time as a woman. In a grove with shepherds' huts - The shepherdess Dorinda reflects on the beauties of nature, which however do not fill her with tranquility as they used to, which she feels may be a sign that she is falling in love. Orlando rushes across the scene with a princess, that he has just rescued from danger, Dorinda thinks he may be in love too.. Dorinda has been sheltering princess Angelica in her hut, as Angelica had found the wounded Moorish warrior Medoro near death and fallen in love with him and brought him to recuperate in the shepherdess's hut with her. Dorinda is upset that Medoro and Angelica are in love, as she has fallen in love with Medoro herself, but Medoro tells Dorinda that Angelica is a relative of his and assures Dorinda that he will never forget her kindness to him.
Dorinda finds him utterly charming anyway. Zoroastro tells Angelica he knows that she is in love with Medoro and warns her that Orlando's jealousy when he discovers this will lead to unpredictable and dangerous results; when Angelica meets Orlando, she pretends to be jealous of his rescue of Princess Isabella, telling him he cannot expect her to love a man who may not be faithful to her. Orlando protests that he could never love anyone but her, offers to do anything to prove it, including fighting fierce monsters; as Orlando leaves, Medoro asks Angelica who she was with. She explains that Orlando is a mighty warrior and besotted with her and advises that they should retreat to her kingdom in the east to escape his wrath. Dorinda is upset to see them embrace. Angelica presents Dorinda with a jewelled bracelet in gratitude for her hospitality. In a forest - Dorinda, inconsolable over the loss of Medoro, listens to the melancholy song of the nightingale and finds it chimes with her mood (Arioso