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Like Handel’s Orlando (1732) and Ariodante (1734), Alcina derives from the narrative material in Ariosto’s Orlando furioso. The story of the sorceress Alcina, an initially hedonistic, manipulative woman who later finds herself a victim of love, fits into the genre of the ‘magical opera’ with numerous magical elements, but Handel achieved considerable emotional authenticity in his characterisations. This makes Alcina one of the most deeply felt and multifaceted operas. ‘You may despise what you like ; but you cannot contradict Handel,’ said the Irish playwright George Bernard Shaw. As in Tamerlano, Pierre Audi based this production on the stage at the baroque theatre at Drottningholm, for which he originally developed the directing concept. His set is thus based on the principles of perspective, with wings in the form of painted panels. The result is marvellous modern musical theatre in a historizing frame.

La batalla del año

Hounddog

Una noche en la ópera

Too Late Blues

Cuanto más, mejor

Los cuentos de Hoffmann

Pure Country 2: El Don

Piso de lona

Star!

Honey: Levántate y baila

Un talento increíble

La bella de Moscú

Strauss II: Die Fledermaus

Lohengrin

Le convenienze ed inconvenienze teatrali - Wexford Festival Opera

Aida - Arena di Verona

Arabella

Rigoletto
Giacomo Puccini: Turandot

Carmen de Bizet

Madame Butterfly

Yesterday's Concert
Floating Away

Marco Polo (An Opera Within an Opera)