Orlando paladino

Orlando paladino (English: The Paladin Orlando), Hob. 28/11, is an opera in three acts by Joseph Haydn which was first performed at Eszterháza on 6 December 1782. The libretto by Nunziano Porta is based on another libretto, Le pazzie d'Orlando, by Carlo Francesco Badini (set by the composer P.A. Guglielmi in 1771), itself inspired by Ariosto's epic poem Orlando furioso. The opera was described as a dramma eroicomico and the plot mixes heroic and comic elements. It was Haydn's most popular opera during his lifetime. The Pennsylvania Opera Theater presented the United States premiere of the work at the Trocadero Theater, Philadelphia in March 1982 with John Gilmore in the title role.

The opera makes a reference to the castrati in during Pasquale's Act 2 aria Ecco spiano, during which he sings "Ah, che un musico castrato come me non canta affé" (Even a castrato cannot sing as well as me). The same aria is also notable for requiring the tenor to go into falsetto to hit some of the high notes.

Scene 1 – A mountainous landscape.
The shepherdess Eurilla and her father Licone are alarmed by the appearance of a threatening knight, searching for Angelica and Medoro. Eurilla tells him of their love and that they have taken refuge in the nearby castle. The knight reveals himself as Rodomonte, King of Barbary, infatuated with Angelica and intent on protecting her from Orlando’s jealousy.
Scene 2 – Angelica’s tower.
Angelica laments that she has to live in hiding to avoid Orlando’s mad frenzy. She summons the sorceress Alcina, who offers her protection. Medoro now enters with the unwelcome news that Orlando and his squire Pasquale have been sighted nearby but is unsure whether to stay or escape.
Scene 3 – A wood.
Pasquale is discovered by Rodomonte, who proceeds to challenge him, but is distracted by Eurilla, who says that Orlando is nearby looking for him. Alone with Eurilla, Pasquale explains that his life of adventure is blighted by a constant lack of food (and love).
Scene 4 – A garden with a fountain.
Medoro swears his fidelity to Angelica but despite her protests suggests that for her own safety he should leave her for a time. When they have gone, Orlando appears, cursing the obsession that drives him on, convinced that Medoro is the only obstacle to the fulfilment of his love. He sees that Medoro has carved Angelica’s name on every tree in the garden and smashes down the trees and fountain.
Scene 5 – A grove.
The braggart Rodomonte is still in pursuit of Orlando and narrowly misses him when he arrives to interrogate Eurilla, on the whereabouts of Medoro.
Scene 6 – A delightful garden.
Angelica’s fearful premonitions are interrupted by Pasquale and Eurilla, who warn her of Orlando’s approach. Rodomonte joins them, still eager to fight Orlando, and then the peace-loving Medoro, in fear of Orlando’s prowess enters. Alcina appears and reassures the lovers, while warning Rodomonte that he cannot defeat Orlando. Orlando bursts in raving, but Alcina magically immobilises him and imprisons him in an iron cage.

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