Reviewed by James Karas
Opera Atelier’s production of Alcina is full of magic, illusion, enchantment, transformation and love. There is an underlying layer of danger, destruction and evil that all are combined in George Frideric Handel’s 1735 opera.
When the curtain opens, we see an expanse of sand dunes. As we listen to the overture, we notice a shifting of the sand and some of the dunes are transformed into a human body. It is as if the body had been fossilized or become sand and was struggling to escape from its imprisonment like an unfinished sculpture embedded in a slab of marble. It is a startling image created by a projected video and a fine metaphor for the opera.
Alcina is a sorceress and she rules an island where she turns discarded lovers and other people into animals and vegetables. Think of Circe of Greek mythology who did pretty much the same thing but her specialty was turning men into swine.
Alcina has six characters and a plot that goes something like this: Alcina has the knight Ruggiero in her thrall on the island. Bradamante is in love with Ruggiero and she arrives on the island with Melisso, Ruggiero’s former tutor. Their mission: free Ruggiero and Alcina’s other captives. The means: a magic ring. Bradamante is disguised as her brother Ricciardo and Alcina’s sister Morgana falls in love with him/her. We are now thirty seconds into the opera.
Morgana dumps her lover Oronte who becomes very jealous and violent; Ruggiero is unaware of what is going on remains in his world; more jealousy as the da capo arias come pouring in. Are you still with me? Probably not, in which case, listen to the arias and forget the plot twists.
Director Marshall Pynkoski does a number of things to alleviate the creaky plot. He adds some humour and a number of beautiful ballet sequences choreographed by Jeannette Lajeunesse Zingg as well as some extraordinary video projections as mentioned at the beginning of this review. Film Director Ben Shirinian’s video and Gerard Gauci’s sets provide an extraordinary illustration of the text of the opera. Alcina’s palace, a view of people who have become embedded in the landscape, the transformation and liberation of imprisoned men, make up a stunning display of imaginative recreation of an opera.
All of that was not quite enough to free the opera from its complex and unsatisfactory plot but the music and arias in the hands of an excellent cast more than made up for it.
Soprano Meghan Lindsay as Alcina showed good voice even if her fury was not always convincing. Mezzo-soprano Wallis Giunta sings Bradamante who is in love with Ruggiero but appears as her own brother Ricciardo. Giunta does a splendid job as a woman playing a man who lets her hair down to show us that she is beautiful and worthy of Ruggiero.
Mezzo-soprano Allyson McHardy handled beautifully the pants role of the hero Ruggiero who eventually comes out of his thrall and saves the day. Alcina’s sister Morgana was sung by soprano Mireille Asselin in a prime performance.
Bass-baritone Olivier LaQuerre has the straight-man role of Melisso, Bradamante’s guardian. He is imposing vocally and physically.
Tenor Krešimir Špicer plays the somewhat buffoonish and jealous Oronte, the commander of Alcina’s troops.
The Tafelmusik Baroque Orchestra was conducted by David Fallis to its usual high standards.
This Alcina has enormous production values combined with superior singing but suffers from its unsatisfactory plot. But you can’t blame Opera Atelier for that.
Alcina by George Frideric Handel opened on October 23 and will run until November 1, 2014 at the Elgin Theatre, 189 Yonge Street, Toronto, Ontario. www.operaatelier.com