Orlando Tickets

Lausanne Opera, Lausanne, Switzerland

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Available Dates: 15 - 24 Mar, 2026 (4 events)

Important Info

Type: Opera

City: Lausanne, Switzerland

Duration: 3h with 1 interval

Acts: 3

Intervals: 1

Sung in: Italian

Titles in: French,English

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: George Frideric Handel

Librettist: Carlo Sigismondo Capece

Librettist: Catherine Filloux

Stage Director: Mariame Clement

Overview

Mariame Clément made her debut as an opera director in Lausanne in 2004. Since then, her career has taken off all over the world and she now returns to present her vision of Orlando. The Lausanne Chamber Orchestra will be conducted for the first time by Christopher Moulds, a leading specialist in Handel’s music.

A true ambassador of European music during the first half of the Age of Enlightenment, German composer Georg Friedrich Handel imported Italian opera to London, where he settled to make a career. It was here that he premiered Orlando at the King’s Theatre in 1733 with Farinelli’s great castrato rival Senesino.

A must in the Baroque world, this inventive and beautiful music pulsates with torment and passion. The plot of this highly original opera seria is inspired by Ariosto’s epic poem Orlando furioso. Of the five characters, four are in love, but not all the feelings are reciprocated: the noble knight Orlando is quite literally “madly in love” with Queen Angelica, who is in love with Prince Medoro, who loves her in return, while the shepherdess Dorinda adores him… From graceful or feverish recitative to sparkling arioso, from bravura aria to moving lament, vocal virtuosity blends with the text and the emotions, culminating in the great scene of madness involving the hero – or should we say anti-hero? While the lovers suffer the jealous wrath of the “furious” Orlando, crises are resolved under the guidance of the magician-philosopher Zoroastro, leading to a happy ending.

New Opera de Lausanne production, in coproduction with Opéra Nice Côte d'Azur and Théâtre de la Maestranza, Seville

History

Premiere of this production: 27 January 1733, King s Theatre in London

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, which was also 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.

Synopsis

Orlando (Roland), a great soldier in Charlemagne's army, falls desperately in love with the pagan princess Angelica, who is 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 (who eventually restores his sanity).

Act 1
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 love and 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, and once more follow Mars, god of war.(Aria:Lascia Amor). Orlando is at first shamed by Zoroastro's words but then decides love and duty do not necessarily 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 (Aria:Non fu già men forte).

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, Isabella, that he has just rescued from danger, and Dorinda thinks he may be in love too. (Aria:Ho un certo rossore). Dorinda has been sheltering princess Angelica in her hut, as Angelica had found the wounded Moorish warrior Medoro near death and fallen desperately 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 (Aria:Se il cor mai ti dira). Dorinda knows Medoro is not telling the truth, but finds him utterly charming anyway (Aria:O care parolette).

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 possibly 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 (Aria: Se fedel vuoi ch’io ti creda). Orlando protests that he could never love anyone but her, and offers to do anything to prove it, including fighting fierce monsters (Aria:Fammi combattere).

As Orlando leaves, Medoro enters and 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, but the lovers tell her not to be downhearted; one day she too will find love. Angelica presents Dorinda with a jewelled bracelet in gratitude for her hospitality (Trio:Consolati o bella).

Act 2
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:Quando spieghi tuoi tormenti). Orlando demands to know why Dorinda has been telling people he is in love with Isabella. Dorinda denies this and says she was speaking not of him but of Medoro and Angelica's love. She shows him the bracelet she claims Medoro gave her and says she sees his face in every brook and flower (Aria:Se mi rivolgo al prato). Orlando recognises the bracelet as one he had given Angelica and is furious at her betrayal. He vows to kill her, then himself, and pursue her in Hell itself (Aria:Cielo! se tu il consenti).

On one side, a grove of laurel trees, on the other, the entrance to a cave - Zoroastro advises Medoro and Angelica to flee Orlando's wrath and promises to protect them on their journey, advising them that they should always be guided by reason (Aria:Tra caligini profonde). Angelica and Medoro are saddened at having to leave the woods where they fell in love and Medoro carves their names into the trees as a memento (Aria:Verdi allori). Angelica is grateful to Orlando for having saved her life once and feels guilty for having lied to him, but tells herself that he will come to understand her love for Medoro, being in love himself (Aria:Non potrà dirmi ingrata). She takes a sad farewell of the beautiful grove where she first fell in love (Aria:Verdi piante).

Orlando rushes in and attempts to murder Angelica, who calls in vain for Medoro to rescue her. Zoroastro conjures up some spirits to whisk Angelica away in a cloud. Orlando begins to lose his reason: he imagines himself to be dead and sees himself entering Hades. He experiences a vision of his hated rival in the embrace of Proserpina, queen of the underworld, but then notices that Proserpina is crying and feels pity for her.(Accompagnato:Ah! Stigie larve). Becoming infuriated again, Orlando rushes into the cave, but it splits open, revealing Zoroastro in a flying chariot. He puts Orlando into it and carries him away.

Act 3
In a grove with palm trees - Medoro became separated from Angelica in the confusion and has returned to Dorinda's hut to seek refuge once more. He tells her he would love her if he could, but his heart is not his to give (Aria:Vorrei poterti amar). Dorinda comments on the whirlwind of passions caused by love (Aria:Amore è qual vento). Orlando appears and, addressing Dorinda as Venus, declares his love for her. Dorinda can see Orlando is still out of his senses, and this is even more apparent when he confuses her with a male enemy he had fought with previously.

Zoroastro appears and orders his attendant spirits to transform the grove to a dark cave, where he will try to restore Orlando to sanity. He knows that tempests eventually recede, and calm will return (Aria:Sorge infausta una procella).

Angelica finds Dorinda weeping and she explains that Orlando in his madness has burnt her cottage to the ground, killing Medoro in the process. Angelica is devastated and when Orlando appears she begs him to kill her too (Duet:: Finché prendi ancora il sangue).

Orlando hurls Angelica into the cave and, imagining he has rid the world of all its monsters, lies down to rest. Zoroastro declares the time has come for Orlando's mind to be healed; a magical bird descends with a golden phial, the contents of which the sorcerer sprinkles on Orlando's sleeping face. As Orlando begins to feel the effects of the magic potion, he sings the aria, Gia l'ebro mia ciglio. Orlando awakes, restored to reason, but is horrified to learn that he has killed both Medoro and Angelica and begs for death himself. Zoroastro has saved Angelica and Medoro however; Orlando is overjoyed to see them and wishes them a happy life together. Dorinda will forget her sorrow and invites everyone to her cottage to celebrate (Chorus: Con un diverso ardor, gia che ciascun e pago).

Venue Info

Lausanne Opera - Lausanne
Avenue du Théâtre 12

Lausanne Opera is a cultural institution located in the heart of Lausanne since 1871. It’s become an emblematic institution in French-speaking Switzerland, contributing to its cultural influence. In Lausanne, opera has long been a defining feature of the cultural scene, reflecting the desire of Lausanne’s citizens for theatre, and not just music.

Since the 18th century, opera has had a prominent place in Lausanne, where many venues welcomed visiting troupes. As in Paris, Grétry, Duni, Montsigny, Rousseau, Gossec, Philidor, Dalayrac, Paisiello, Piccinni, were all famous composers.

Depending on the programme proposed by the visiting troupes after the French Revolution, an audience broader than that of the aristocratic circles finally had the opportunity to see and hear operas shortly after their creation in a theatre built on the current rue de Langallerie, that was named “La Comédie” or “salle Dupleix”.

Voltaire was already praising the curiosity of the Lausanne public and was delighted with the reception given to his theatrical works. In its new building, the modern Opéra de Lausanne, with the strength of its heritage, is dedicated to preserving the repertoire, as well as showcasing and commissioning works for a wide audience including its youngest fans.

Since its renovation in 2012, the Opéra de Lausanne has equipped its stage with the most advanced technologies, and offers a diversified choice of operas, concerts and ballets each season, showcasing a repertoire that spans from the 17th to the 21st centuries, from Monteverdi to Levinas. This diversity, as well as the artistic and vocal level of its international singers, ensures a dynamism and recognition that confirms the Opéra de Lausanne’s renown, and is reinforced by the rebroadcasts and diffusion of its productions, which are often acclaimed.

The Opéra de Lausanne is also known for its annual programming of a true opera for young audiences. In addition to the discovery of the operatic world offered annually to more than 2,000 students, it has a proactive policy of professionally integrating young graduates of the HEMu and HEMGe. In 2010, the Opéra de Lausanne created the Lyric Road, a unique decentralisation operation that takes place in the summer in the French-speaking region and allows distant audiences to enjoy quality opera performances.

The Choir of the Opéra de Lausanne is a young choir, comprising both vocal students from the Hautes Ecoles de musique romandes, Hemu and HemGe, and professional singers.

The experience acquired at the Opéra de Lausanne often allows new graduates to pursue a career that at times brings them back to Lausanne. Its members are selected by audition and are periodically reheard. They are carefully chosen for each opera according to their voice and/or aptitudes, as well as their stage presence. With their contagious enthusiasm, they are highly appraised by invited Directors.

Members benefit from several years of training under the direction of a number of dynamic expert Choir Directors from different disciplines, who are selected according to the works performed and their specific qualities.