On Thursday night, I was treated to Tim Albery's new production of Handel’s Alcina for Opera North which opened for the first time last month in Leeds.
Just over two years on from the UK's first coronavirus lockdown, hundreds turned out for Opera North's take on George Frideric Handel's Alcina. It was so reassuring to see a pretty much full crowd and such a high turnout for a centuries old opera on a Thursday evening at the Newcastle Theatre Royal.
As an act of solidarity and a reminder of the world outside the glamour of the theatre, prior to the show, the orchestra performed the Ukrainian national anthem to much applause from the audience.
READ MORE: Covid can't stop opera stars as understudies shine in Rigoletto at Newcastle's Theatre Royal
Alcina, or L'isola d'Alcina in the original Italian, follows the story of an island paradise where nothing is as it seems. Alcina is a beautiful but deadly sorceress who enchants and seduces every man to set foot there.
When she has had her wicked way with them, she then transforms them into rocks or wild animals which she leaves scattered across the island. She is - admittedly - my hero. Or heroine should I say. Somewhere between a siren and a black widow spider, Alcina is not to be messed with, until the arrival of Ruggiero.
The dashing knight washes up on the island and Alcina falls in love with him. But as the Bard once said, the course of true love never did run smooth and Ruggiero's fiancée, Bradamante, arrives not long after.
However, Bradamante is disguised as a man and Alcina's evil sister, Morgana, who is also an enchantress, falls for him - or should I say her. Morgana ditches her former flame, Oronte, for Bradamante and mayhem ensues.
It's a tale of sorcery, deception, illusion and infidelity sprinkled with a dusting of comedy, cross-dressing and the true meaning of love. The storyline, which is admittedly somewhat confusing at times, reminded me of Shakespeare's Twelfth Night. It's a fast-paced tale of characters changing heart and shifting loyalties much to the audience's amusement.
The stage's background was a digital screen showing the tropical paradise of the island of Alcina. I could not stop staring at the screen and it hugely helped bring the original story's setting to life. As the plot thickens and tensions rise, the pretty island paradise dims to a dark, claustrophobic jungle you seemingly cannot escape.
The set comprised of several dark green chairs and a large bear skin rug. The rug, which I originally thought was just a quirky prop, begins to take on more meaning once you realise Alcina has a habit of turning her conquests into inanimate items for decoration. The design was minimalistic and modern which allowed for the characters to really shine.
The costumes too were also contemporary, only a breastplate and large sword remind you the opera was written in 1735.
Irish Máire Flavin, as the eponymous sorceress was magnificent. Her performance was captivating and had definitely had the audience enchanted if you pardon the pun. Fflur Wyn as Morgana was my personal favourite who dazzled with her unbelievable voice and hypnotic arias.
The USA's Patrick Terry, who played Ruggiero, is a supremely talented counter-tenor who nailed his troubled character. Claire Pascoe who played Melissa delivered a powerful performance as did Nick Pritchard as Oronte whose voice stood out amongst the other altos or higher. Norwegian mezzo-soprano Mari Askvik portrayed Bradamante equally kept the audience glued with her impeccable breath-control and range.
The young cast brought Handel's nearly 300-year-old story to life brilliantly. They portrayed the array of intense emotions and theatrics needed to deliver an opera of this calibre. The result was magical. Even I, an opera novice, recognised the the power of the orchestra which was led by Laurence Cummings which intensified the already heavy plot.
For more information on Opera North's upcoming performances, visit the website.
