Alcina 2021
25 - 29 AUG 2021, 7:30PM
Alcina
HANDEL
GRIMEBORN FESTIVAL
25th - 29th August 2021 7:30pm
The Arcola Theatre, London
Ensemble OrQuesta Baroque
Marcio da Silva Stage/Music Director
Stephanie Gurga Music Director/Harpsichord
Laura Hensley Assistant Stage Director
Benjamin Riedel Assistant Stage Director/Stage Manager
Cédric Meyer Archlute
Edmund Taylor, Kirstin Main Violin
Jacob Garside Cello
Helen May | Rosemary Carlton-Willis Alcina
Laura Fleur | Emily Kyte Ruggiero
Kathleen Nic Dhiarmada | Rachel Allen Morgana
Maya Colwell | Marienella Philips Bradamante
Kieran White Oronte
John Holland-Avery Melisso
Poppy Shotts Oberto
Ethan Udovich Chorus (cover Oronte)
This production of Alcina was originally premiered in July 2019 as part of an international opera academy organized by Ensemble OrQuesta Opera Academies. Ensemble OrQuesta established its academies in 2013 to provide training and stage experience for talented young professional opera singers at the onset of their careers. During an intensive ten-day-period we develop a performance concept, which is subsequently honed to the highest standard, before being presented to audiences at more prestigious venues. We had been invited to share this production at the 2020 Grimeborn Festival; our fourth invitation to participate in this annual Festival. We are delighted to be sharing it with audiences during 2021, as we emerge from the pandemic.
Director’s note.
MARCIO DA SILVA
An 18th century opera about an enchantress does not seem an obvious choice for a modern, innovative approach. But Alcina has plenty to offer. In this opera Handel chose to avoid the rational world where everyone ultimately needs to surrender to the power of reason, listen to the dictates of the heart, and respond to the promptings of conscience. This provided an opportunity for him to explore key parameters of human behaviour and pose important questions about the nature of love and erotic desire, and about the destructiveness of unfettered power. These fundamental issues remain pertinent in the 21st century.
This is a strikingly powerful story. Alcina herself is considered to be one of Handel’s most remarkable creations: dangerously seductive, audiences are torn between empathy for her forlorn desperation and passionate love for her counterpart, and harsh condemnation of her cruelty and self-centred reign of terror. This production aims to give a 21st century audience fresh access to Handel’s extraordinary music and his unique characterisation by placing it in a controversial modern context.
The Ensemble OrQuesta production of ‘Alcina’ is inspired by the #MeToo movement – the social movement against sexual abuse and sexual harassment which originally found voice in 2006 and achieved global prominence online in late 2017. In order to encourage the audience to question the stereotypical analysis, in this production it is the female power figure (Alcina) who will abuse her position of power. Alcina sometimes abuses her power over women and sometimes over men, to demonstrate that sexual harassment is not simply an issue which is confined to a male boss preying on a female employee; it is a power issue not just a male-female domination issue.
A modern day Alcina.
Our story takes place in a modern office setting - think ‘The Devil wears Prada’ if you will - with Alcina as the ‘boss’. The set is deliberately stark and simple so that it can be representative of any number of office environments. All events take place within the office itself. Alcina’s ‘magical powers’ in this production are the professional authority she exercises over her employees and the sexual domination she deploys over younger inexperienced co-workers.
Alcina wields her power both with brazen intensity and with subtle seduction in the formal setting amongst the desks, and she also broods menacingly, bemusing them with declarations of passion in the less formal 'bar-type' setting implied on the fringes of the office. When she fears she is losing her grip, it is the very relevant 21st century abuse of alcohol that comes to haunt her, and it is the ‘office’ environment that she trashes in despair.
18th century opera. Timeless themes.
When simply seen in 18th century-style surroundings or cast within a purely ‘fantastical’ setting, Handel opera can seem to lack relevance or impact. Yet, the themes explored within this opera are timeless. By setting this production in a contemporary work environment, the characters and themes become more easily accessible. The key themes of illusion and addiction, instant gratification, and short attention spans are all contemporary topics.
The strikingly powerful female figures within this opera immediately engage keen observers of sexual discrimination, and the baroque sexual fluidity (exemplified in this production in the fluid non-gender specific dress code) encourages the questioning of stereotypes. Since Handel’s gifts were such that his music is immeasurably rich and diverse, modern audiences will not only find new insights within the opera, but they will also be sublimely entertained – there is some stunning music here which deserves to be heard.
The key themes of illusion and addiction, instant gratification, and short attention spans are all contemporary topics. In stepping outside societal constraints Handel created the most fully ‘human’ of his operatic characters, and the toxic behaviour of the vibrant and alluring central figure of Alcina can challenge us to reflect on flaws in today’s society. Since Handel’s gifts were such that his music is immeasurably rich and diverse, modern audiences will not only find new insights within the opera, but they will also be sublimely entertained – there is some stunning music here which deserves to be heard.
The central character of Alcina is surrounded by a vibrant array of contrasting characters to whom Handel gives wonderful music: passionately jealous, passionately vengeful, passionately mournful, effervescent, expansive, lyrical and melodious. The fact that these characters explore emotions within frameworks that have clear modern relevance, should give the opera a fresh and thought provoking impact. The human interactions of loyalty, jealousy, infatuation, sexual desire, eroticism, despair, rage, sorrow, and passion, are brought to life by the rich characterisation and power of the music and should seem more immediate and relatable because the characters interact within a recognised modern setting.
Movement and symbolism is important in our productions. In baroque times dance was a key element of opera performances, and some modern performances of baroque operas retain dance episodes. By contrast we aim for a distinctive stylised approach. Simple choreographic gestures are incorporated within the drama, and at various points our singers move on stage in patterns or shapes in a manner that not only recognises the connection between movement and music but also exemplifies character interactions and transformations. Those who succumb to Alcina’s power or fall ‘under her spell’, have white paint applied on their faces, and their movement and behaviour changes. These movements and interactions are part of a creative process undertaken by the cast, evolving as characters prepare to perform the work. In performance the music should take on a distinctive visual dimension for the audience.
