Ludovico Ariosto’s epic Orlando furioso (1516) proved to be an inexhaustible source of inspiration for composers, both in the virtually endless series of 16th century madrigals and in that of 17th, 18th and even 19th century operas. It was on this theme that Haydn composed his Orlando paladino, as a mosaic of comic, lyrical and dramatic scenes: a true ‘opera semiseria’, with both ‘buffo’ and ‘seria’ roles. Some arias and duos were so popular that they were even incorporated into the operas of other composers. Orlando paladino was Haydn’s most successful opera, and both the original Italian version and a German adaptation were part of the repertoire for thirty years. Following a silence of more than a century, the work is now slowly but surely on the rise again, and René Jacobs’ interpretation certainly gives it a push in the right direction.