Knights in Shining Armour with Iain Scott

A knight errant, by definition, errs—appearing in many forms across history.

Baroque operas often centered on Charlemagne’s Paladins, especially Roland (Orlando), inspiring works by Handel, Haydn, and Vivaldi. Ariosto’s Orlando Furioso (1516) added the enchantress Alcina, sparking a wave of operas. Later, Massenet’s Le Cid echoed Orlando’s heroics.

Another cycle drew from the First Crusade, led by Tasso’s Gerusalemme Liberata (1581), introducing Rinaldo and Armida, adapted by Handel, Lully, Gluck, Rossini, and Dvořák. Verdi contributed with I Lombardi alla prima crociata.

In England, the legends of King Arthur and the Knights of the Round Table (e.g. Lancelot, Gawain, Galahad, Percival) permeated operatic tradition. France paralleled this with the Matter of France, promoting a chivalric code through courtly romances focused on love, honor, and heroism.

This ideal was later subverted in Mascagni’s Cavalleria Rusticana.

Troubadours and Minnesingers influenced Romantic operas like Verdi’s Il Trovatore and Wagner’s Tannhäuser.

Finally, in 1605, Cervantes satirized the entire tradition in Don Quixote, exposing the folly of the wandering knight.

Series:
Oct. 20: Greek Myths in Opera
Oct. 27: The Trojan War in Opera
Nov. 10: Heroes & Quests
Nov. 17: Operas from the Old Testament
Nov. 24: Knights in Shining Armour
Dec. 1: Norse Gods in Opera

**Opera is not included in membership**