Cesti's Orontea (Innsbruck, 1656), one of the most celebrated operas of the seventeenth century, is considered a significant antecedent of eighteenth-century opera buffa; the important role of Gelone is deemed one of the first basso buffo roles in opera history. Yet this view is based on incomplete and problematic historical data. This article reexamines that data and develops strategies for handling the text-critical problems that plague seventeenth-century opera. It concludes that Cesti probably designed Gelone for an alto – the most common voice type for buffo servants in the mid-late seventeenth century – and warns against using eighteenth-century models to interpret the seventeenth-century repertory.