Review: Opera North Alcina

Approaching the Grand Theatre last Saturday evening for Opera North’s first ever staging of Handel’s Alcina, one could have been mistaken for thinking it was one of the Company’s superb flash mobs. The early revellers out in force were singing, cross dressing, manipulating and numerous hardy folk even peeling layers off clothes despite the cold and wet and of course, the inevitable lovers’ tiffs.

The scene outside had the requisite emotional ebb and flow to draw the bystander into a world of deception, seduction, love and loss.

Sadly that is more than could be said for the production inside The Grand, which was quite risible at times as it lacked cohesion and flow, detracting from the fine singing and excellent orchestral playing.

The plot involves an enchantress, Alcina, on her island surrounded by her scorned lovers, all of whom have been changed through her spells into parts of the fauna and flora. Ruggiero a warrior has been trapped by Alcina and it is left to his fiancée Bradamante to come and rescue him. To complicate matters she disguises herself as her own brother Ricciardo and is accompanied by her protector Melissa. In addition Morgana, Alcina’s sister, falls instantly in love with Ricciardo/Bradanate annoying her boyfriend Oronte.

Anyway despite lots of flirting we move through to Act II where Ruggiero finally comes to his senses and plans to escape. It finally concludes with Ruggiero putting the ring back on Bradamante’s finger and Alcina accepting defeat, knowing that Melissa has won and that all her powers have deserted her.

The simple set, notable for being Opera North's first sustainable mainstage production, was dominated by green velvet chairs to represent the forest and a lighting rig making it look like a cross between a sixth form common room and a church hall; there is also a bearskin rug which looked like it had been taken from a Morecombe and Wise sketch, plus a cushion stuffed with tissues. What? Well yes, that was the problem - nothing added to make any sense of the narrative.

Ian William Galloway’s monochrome video-screen backdrop, however, was effective in portraying the island with the ocean waves and flora and fauna.

At times I wondered about the costumes - no wonder a number of some on stage kept taking them off.

Thank goodness then for the music and the excellent cast.

Directed by Laurence Cummings a leading exponent of historical performance both as a conductor and a harpsichord player. The harpsichord playing was brilliant and the orchestra obviously enjoyed Cummings’ direction.

The young cast included: Máire Flavin (Alcina) who had some fine moments along with Mari Askvik, making her Opera North début, delighted with some sublime and sensuous moments. Patrick Terry also making his Opera North début as Ruggiero kept going despite a few tuning problems as he used his vocal range to the full.

Nick Pritchard (Oronte) did not waver from his fine singing and, despite tripping around the stage for sometime in his boxers and vest, he gave a lovely Un momento di contneto.

Fflur Wynn as Morgana enjoyed her Act One showpiece Tornami a vagheggiar.

Tim Albery’s production did not sparkle; there was more magic, excitement, energy, lust and love in the Arcade next to the Grand as the audience headed for home.

The production runs in Leeds until 17 February after which it tours to The Lowry at Salford Quays, Nottingham Theatre Royal and Newcastle Theatre Royal, together with a new production of Verdi's Rigoletto directed by Femi Elufowoju jr and Edward Dick's Carmen which opened the autumn season.