The numerous operas based on the characters from Ariosto's epic poem, Orlando furioso offer new ways of looking at an art form that was far more radical than often assumed. How did these operas treat Ariosto's good and evil-doers? What happens when music turns supposedly evil characters into sympathetic figures? And how should modern productions grapple with the problems that ensue?
Professor Tim Carter
David G. Frey Distinguished Professor of Music, The University of North Carolina at Chapel Hill
Chaired by Professor Katharine Ellis FBA, The Stanley Hugh Badock Chair in Music, University of Bristol