MANNES DOES ALCINA

 David Khang, Zhedong Ren, Ruijia Dong, Brooke Jones, Maestro Geoffrey McDonald,

Marcella Astore, Jooyeon Park, and Yoonji Kim

The music of Händel is favorable for young voices and we were pleased that Mannes Opera chose one of his operas to showcase seven young and talented singers. We are pleased not only because we love his music but also because it means that these young singers will have learned a role that may lead to employment. Casting students in unknown contemporary operas has always seemed to us to be wasteful of the singers' time and efforts, inasmuch as they will likely never get to reprise the role. Alcina is one of our favorite Händel operas and we have seen it and enjoyed it a number of times.

Each character gets a chance to shine since each aria offers a ritornello that invites decoration of the vocal line-- as much as the singer can Händel.  (Sorry about that; we just couldn't resist.) The story is just one episode in a 16th c. epic poem by Ludovico Ariosto entitled Orlando Furioso. It is not necessary to know the entire poem to appreciate this 1735 opera seria but it is amusing to note that poor Bradamante has been pursuing Ruggiero throughout the entire epic, and also that the prolific Händel drew not one but three operas  (Orlando and Ariodante) from the same source.

In this episode, Ruggiero (mezzo-soprano Ruijia Dong) winds up on an enchanted island where the beautiful sorceress Alcina (soprano Brooke Jones) has seduced men and turned them into animals, plants, and rocks. Poor Bradamante (mezzo-soprano Marcella Astore) has disguised herself as her own brother and, accompanied by Ruggiero's former tutor Melisso (bass-baritone David Khang), come looking for Ruggiero.

Alcina's sister Morgana (soprano Jooyeon Park) instantly falls for the disguised Bradamante and casts aside her lover Oronte (tenor Zhedong Ren). The youth Oberto (soprano Yoonji Kim) is also on the island searching for his father Astolfo who had been converted into a beast.

As you can see Dear Reader, the plot is complicated but has to do with infatuation, seduction, betrayal, forgiveness, revenge, delusion and disillusionment. Having read the notes of Director Sam Helfrich a few hours after the conclusion of the opera, we were a bit surprised to learn that his interpretation of the themes were quite similar to ours.  We can understand his intention to highlight these themes but somehow presenting the work as a French farce didn't work. 

Set designer Daedalus Wainwright created a beautiful set which seemed to be early 20th century art nouveau, at least we recognized some pieces of furniture that reminded us of Musée D'Orsay in Paris. There was a divan, a chest, gorgeous lighting, and lots of doors which emphasized the dramatic entrances and exits of the performers. 

The costume designs of Camille Charara were disappointing. Ruggiero looked not a bit heroic. Bradamante was stuffed into an ill-fitting man's suit which appeared rather contemporary. Alcina might have looked more glamorous. Morgana and Oberto made out somewhat better. As a matter of fact, in terms of acting Ms. Kim's Oberto was most convincing, since it was sincere and underplayed. Oberto's reunion with his restored father was touching.

So, between the anachronism of contemporary clothing and the art nouveau set, magnified by substituting a pistol for the libretto-identified spear--well, we just didn't get it. It's no wonder we associated a French farce with characters  running in and out. 

This is not the only strange concept a director has imposed upon this opera. We reviewed one in Santa Fe that took place in a theater, and one in New York City in which Alcina's magic spell was produced by narcotics and all her victims had to endure withdrawal. We suppose there will never be a straight production of this opera so the best we could hope for is consistency within a given concept.

We decided to try to ignore the silly stage business and focus on the musical values which were fine. Maestro Geoffrey McDonald always brings out the best in musicians and the Mannes Orchestra did not disappoint. By a strange coincidence, the first time we heard Mo. McDonald conduct, it was at least ten years ago, in a chamber production of the same opera!

© meche kroop