This page is a non-commercial research entry within the Operatic LGBTQIA+ Catalogue. It does not claim authorship, ownership, or rights over the works discussed.
All rights remain with the respective authors, composers, librettists, publishers, companies, performers, and rights holders.
For performance, purchase, licensing, recordings, or rights-related requests, please contact the official rights holders.
Entries can be corrected, updated, expanded, or removed upon request.
Orontea (also L'Orontea)
180'
Italian
Synopsis
In the prologue, Philosophy and Love argue over who has more power over mankind. Queen Orontea of Egypt has sworn to never fall in love, much to the dismay of her advisor, Creonte. When the young painter Alidoro arrives at court seeking refuge, both the Queen and the courtesan Silandra immediately fall for him. Adding to the confusion, the slave Giacinta, disguised as a boy named Ismero, arrives at court and admits to organizing an ambush on Alidoro. As passions and jealousy escalate, Orontea is forced by Creonte to reject Alidoro, who is later revealed to be the long-lost son of the King of Phoenicia, a revelation that paves the way for a happy ending for all.
Composer
Antonio Cesti (Pietro Antonio Cesti, 1623–1669)
Lyricist / Librettist / Playwright
Giacinto Andrea Cicognini (libretto), revised by Giovanni Filippo Apolloni
Year of composition/publication / premiere
1656
Genre
Opera
LGBTQAI+ category
Queer
Level of centrality
Secondary character
Characters
Corindo, Giacinta (disguised as the boy "Ismero")
Voice type
Contra-tenor, Soprano
Pronouns
Corindo: he/him; Giacinta: she/her (though the character is a woman disguised as a boy)
Publisher / Rights holder
The work is in the public domain. A modern edition was published by Wellesley College in 1973
Where to buy / access the work
The full score can be accessed through academic libraries or via interlibrary loan. A vocal score and performance materials are available for rent from various music publishers.
Performance rights
For performance rights, please contact the composer and/or publisher to ensure legal compliance.
Official website
Audio recording(s)
Video performance(s)
Keywords
* "Venetian Opera and the Critique of Dualism: Cesti's Orontea" (Chapter 3) in Voices of Feminist Liberation, by Dirk Von Der Horst (Acumen Publishing, 2012). This chapter explores the opera's themes of love, philosophy, and the body, including the author's personal reflections on queer desire and the music.
* "Innsbruck, ich muss dich lassen': Cesti, Orontea, and the Gelone problem" in Cambridge Opera Journal