The woodland outside Longborough’s theatre, deep in the Cotswolds, sneaks inside and on to the stage for its season-opening production of Orlando. With a story that sometimes seems little more than an excuse for a series of showpiece arias, it’s not an obvious choice for the festival’s first Handel opera in a decade, but Sinéad O’Neill’s production has confidence in the work and is persuasive enough to lead us through.
The flimsy plot comes from Ariosto’s poem Orlando Furioso. High-ranking warrior Orlando loves princess Angelica, but she’s not interested; she loves Medoro. Low-ranking shepherdess Dorinda loves Medoro – but he loves Angelica, see above. The usual baroque-opera love triangles and noble self-sacrifice are absent, and what we have instead is the stuff of school lunch-queue gossip. Someone hears words that weren’t meant for them and jumps to conclusions; someone else has unwisely given away a special bracelet. Then Orlando cracks: he has an extended, musically arresting mad scene and then goes on a murderous rampage that’s cleared up by the presiding magician, Zoroastro, thus allowing for a happy ending.
