ABRIEF Argument in the printed libretto sets the scene and points the moral. ‘The immoderate Passion that Orlando entertained for Angelica, Queen of Catai, and which, in the end, totally deprived him of his Reason, is an Event taken from Ariosto's incomparable Poem, which being universally known, may serve as an Argument to the present Drama, without any larger Explication. The additional Fiction of the Shepherdess Dorinda's love for Medoro, and the constant zeal of the Magician Zoroaster, for the Glory of Orlando, tends to demonstrate the imperious Manner in which love insinuates its Impressions into the Hearts of Persons of all Ranks; and likewise how a wise Man should be ever ready with his best Endeavours to re-conduct into the Right Way, those who have been misguided from it by the Illusion of their Passions.’

Act I. Night. A Country with a Mountain in Prospect; Atlas, on the Summit of the Mountain, sustaining the Heavens on his Shoulders: Several Genij at the Foot of the Mountain: Zoroaster leaning on a Stone, and contemplating the Motions of the Stars. He thinks he can discern astrological signs that Orlando ‘will not, for ever, be a Foe to Glory’. Orlando enters, torn between the demands of glory and love. Zoroastro proclaims himself the guardian of his glory, and asks how he can sustain ‘the haughty Scorn of an inglorious Boy’. The Magician makes a Signal with his Wand, and the Genij cause the Mountain to disappear, and present to View the Palace of the God of Love, who is seated on a Throne, in the Form of a Youth, and some of the Heroes of Antiquity are seen asleep at his Feet. Zoroastro urges Orlando to leave Cupid and follow Mars. Orlando, looking at the throne of Love, wavers but decides to win glory in love's service: Hercules and Achilles were no less heroic for enjoying the sweets of love. The set changes to A little Wood, interspers’d with the Cots of Shepherds. Dorinda finds her pleasure in the sights and sounds of nature disturbed by a strange new feeling which she suspects is love.