Magnificent Musical Magic at Covent Garden’s production of Alcina
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The plot of Alcina is absurdly complicated, but director Richard Jones has risen to the challenge magnificently and put together a hugely entertaining production.
Earlier this year, I saw the same opera for the first time at Glyndebourne.
Two friends who had seen it there before I did had told me that the singing was magnificent and the music was sublime but they didn’t have the faintest idea what was going on.
After watching it, I felt much the same. The plot concerns a group of travellers who have been lured to an island ruled over by the sorceress Alcina who has an unfortunate habit of falling in love then tiring of her conquests and turning them into wild animals.
Meanwhile, Alcina’s sister, Morgana, is hugely attracted to the new arrival Ricciardo, who isn’t Ricciardo at all, but his sister Bradamante in disguise.
See what I mean about the plot being unfathomable?
I could tell you about Alcina falling in love with Bradamante’s husband, but I think I have told you enough of the plot.
Not only does Richard Jones do a fine job of making it clear what is going on, but he also adds some glorious directorial touches to keep the audience amused during long arias when the music is beautiful but not enough is happening to keep Alcina’s magic potion bubbling along happily and sustain out interest.
I particularly enjoyed Jones’s collaboration with the choreographer Sarah Fahie, introducing comic ensemble dance items at exactly the right moments to add visual treats to the musical feast.
With a fairy-tale woodland design by Antony McDonald and splendid animal masks for the cast members who had been unfortunate enough to fall under Alcina’s spells, it all contributed to a perfectly magical evening.
With the wonderful Cuban-American soprano Lisette Oropesa showing glorious voice control as Alcina while British soprano Mary Bevan was equally wonderful as Morgana, this all added up to a thrilling performance.
Perhaps the greatest surprise of all, however, was the singing and acting of the youngest cast member, the boy soprano, 12-year-old Malakai Bayoh.
Quite apart from his wonderful voice, Malakai showed considerable maturity in not being put off by a disgraceful incident when an audience member shouted abuse while he was singing.
The Royal Opera House are to be congratulated at their approaching the miscreant and banning him from the ROH for life.
Apart from that, the whole opera was an exhilarating experience and a real treat. At the final curtain call, there was huge applause for all the cast and particularly Malakai Bayoh.
I was also delighted when the conductor, Christian Curnin, came onto the stage, accompanied by the cellist and violinist whose virtuoso playing had contributed so much to our enjoyment.
- Box Office and information: roh.org.uk or 020 7304 4000 (various dates until 26 November).
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