United Kingdom Handel (ed. Flesch) Alcina: Soloists, Orchestra of the Royal Opera House / Christian Curnyn (conductor). Royal Opera House, Covent Garden, 14.11.2022 (CC)
Production:
Director – Richard Jones
Designer –Anthony McDonald
Lighting designer – Lucy Carter
Movement director/Choreographer – Sarah Fahie
Cast:
Alcina – Lisette Oropesa
Ruggiero – Emily D’Angelo
Morgana – Mary Bevan
Bradamante – Varduhi Abrahamyan
Oronte – Rupert Charlesworth
Atlante – José Coca Loza
Oberto – Malakai M. Bayoh
It appears solely a second in the past that I reviewed Alcina at Glyndebourne this summer season (assessment click on right here) within the manufacturing by Francesco Micheli. Setting the opera within the Fifties/60s, Micheli appeared to attempt just a little too exhausting. Richard Jones’s manufacturing may be busy, however it works superbly. There is, rightly, an aura of magic right here, however associated to our up to date age: the ‘magic urn’ is a large bottle of fragrance, and to activate its magic, Alcina should spray fragrance. The enchanted forest was wheeled on and off-stage and a instrument shed (equally cellular) supplies the right spot for some nookie for Morgana and Oronte (and really humorous it was, too).
Initially, we see Puritans, and their conversion into the animals that pervade the opera (the masks are nothing in need of miraculous). The finish of the night brings a ‘surprise’ gesture. Probably finest to not spoil it, however frankly it felt underwhelming, just a little trite, though it will get the laughs. But that’s mainly the one grievance. Lighting by Lucy Carter is an important a part of the magical ambiance pervading all through the efficiency. It is a protracted night – 6.30pm to 10.25pm – however the level is it didn’t really feel it, due in nice half to the orchestra’s contribution, Christian Curnyn, greater than well-versed within the music of this era, drew nice enjoying, augmented by a nice continuo part. The instrumental element was usually joyously pointed; plus, Curnyn is aware of tempo the piece.
Alcina is a piece of genius, itself premiered at Covent Garden in April 1735. A wealthy sense of historical past certainly – and but at instances the music felt as if it had been penned yesterday.
This explicit run has gained some notoriety due to heckling on the primary night time. The boy in query, Malakai M. Bayoh, who sings Oberto, the kid seeking his father Astolfo, was singing on this night time – effectively, for positive – and was lauded with tumultuous applause. Brave certainly to tackle a component that includes such vocal challenges, and a pleasure to see and listen to.
There is little question that Lisette Oropesa as Alcina was the massive identify draw right here, and, in her sparkly cocktail costume, she appeared the a part of a famous person. And typically she gave the impression of one, though maybe much less so initially. The magic got here within the later acts, whereas her Act I ‘Di’, cor mio, quanto t’amai’ felt barely muted; by the point we acquired to the third act ‘Ma quando tornerai’, although, this was Oropesa at her absolute best, nimble, shiny of voice and fully throughout the position.
With Oropesa within the forged, and even figuring out and admiring Mary Bevan’s singing, it nonetheless got here as a nice shock to search out an absolute assembly of equals right here. Bevan has a superbly pure voice, good pitching and, it seems, impeccable Handelian type as Alcina’s sister, Morgana. Her ‘Tornami a vagheggiar’ was one of many true highlights of the night, the interiorisation within the central part a factor of magnificence. Bevan can act effectively, too, and persuade with each humour and deeply touching feelings in a single night. If anybody had a real triumph – and was constant from first sung observe to final – it was Bevan.
How stunning, too, was Emily D’Angelo’s ‘Verdi prati’, luminously shaded and phrased, the instrumental ensemble lowered to the merest whisper. This is Handel at his best, and collectively Curnyn and D’Angelo created a tapestry of utter magnificence. Varduhi Abrahamyan was a nice Bradamante (Ruggiero’s spouse, disguised as her brother ‘Ricciardo’), despatching ‘Vorrei vendicarmi’ with a lot aplomb. Rupert Charlesworth was a robust Oronte (Alcina’s steward, in love with Morgana) who appeared very connected to his gardening shed when he wasn’t repurposing it. José Coca Loza was a robust Atlante (Ruggiero’s ‘elder’, a Puritan, who disguises himself as Melisso, a sailor).
The night is a visible deal with. The latest Tosca at ENO blended costume types from totally different durations, and this does one thing comparable. There is not any denying the sprinkling of that magic mud over your complete night. Movement director Sarah Fahie creates absolute miracles – the entire is tight as a drum. An acid check may be, if this was somebody’s first Handel opera, would they arrive out transformed. Surely solely the stoniest coronary heart wouldn’t embrace the nice grasp’s music right here. This is The Royal Opera at its finest.
Colin Clarke