It seems I am dipping my toes heavily into Baroque opera nowadays. In late May, I was temporarily in Regensburg for a holiday, and during that time, the Staatstheater Regensburg was producing this Late Baroque opera. I decided to see it, and I have to say, I absolutely enjoyed it, regardless of the fact that when my musical center of gravity leans heavily toward post-WWII avant-garde and spectralism. Intriguing, eh?
Alcina is written in 1735, and represents the absolute peak of Handel’s mature operatic style, alongside Orlando (1733) and Ariodante (1735). These three masterpieces are collectively known as Handel's "Ariosto Operas", as all draw their librettos from Ludovico Ariosto's epic poem Orlando Furioso. Compared to his earlier Roman or London works like Agrippina (1709), which rely heavily on fast-paced political satire, cynical irony, and crisp, rhythmically driven venetian energy, Alcina trades political intrigue for deep psychological interiority and supernatural escapism.
The setting is an enchanted, illusory island in the Atlantic Ocean. The Regensburg production however moves the setting to something slightly more modern yet dystopian. Smartphones and text messages have been featured, and people are dressed in a modern 21st-century fashion. There is of course Alcina (Soprano), a powerful, seductive sorceress. She has a sister, Morgana (Soprano), also a sorceress. Ruggiero (originally Castrato, usually Mezzo-Soprano or Countertenor) is a knight under Alcina's spell. Bradamante (Contralto) is Ruggiero’s fiancée, disguised as her own brother, Ricciardo. Melisso (Bass) is Bradamante’s governor and tutor. And finally there is Oronte (Tenor), commander of Alcina’s forces, in love with Morgana. In the original opera, there is the additional role of Oberto which is a boy soprano role, yet the Regensburg production completely eliminated this role in order to focus on the psychological tension between the characters.
It begins with Bradamante (disguised as the male warrior "Ricciardo") and her tutor Melisso arriving on Alcina’s enchanted island. They are intercepted by Morgana, who immediately develops an intense infatuation with the disguised Bradamante, casually abandoning her suitor Oronte. Morgana leads the travelers to Alcina's inner court, an environment characterized by sensory overload. Here they find Ruggiero completely emasculated and infatuated with Alcina. When Bradamante attempts to shock Ruggiero back to reality, he dismisses her with aggressive disdain. Oronte, seeking vengeance for Morgana’s rejection, falsely informs Ruggiero that Alcina plans to discard him for "Ricciardo." Ruggiero erupts into a jealous frenzy. The act concludes with Morgana celebrating her new love, blissfully unaware of the impending structural collapse of her world. Melisso confronts Ruggiero and forces a magic ring onto his finger. The sonic and visual illusions instantly evaporate: Ruggiero perceives the island not as a lush paradise but as a barren, grotesque wasteland. Stricken with existential guilt, he plans his escape but is forced to maintain his amorous facade to avoid suspicion. He encounters Bradamante; fearing she is merely another cruel illusion conjured by Alcina, he initially rejects her again before the truth finally crystallizes. Meanwhile, Oronte informs Alcina of Ruggiero’s intended defection. For the first time in her immortal existence, Alcina experiences genuine love—a vulnerability that destabilizes her magic. She attempts to summon her demonic familiars in the masterwork monologue "Ombre pallide," but because her psychological equilibrium is shattered, her incantations fail; the spirits refuse to manifest. The lines of conflict tighten. Morgana discovers "Ricciardo’s" true identity and realizes her romantic pursuit was a farce. Ruggiero completely throws off his lethargy, singing of his return to martial honor and military duty. Alcina confronts him, oscillating violently between vicious threats of violence and pathetic supplications for mercy, but Ruggiero remains resolute. In the end, Alcina dies.
I liked how the Regensburg production actually modified the plot. Instead of a magical island, the narrative has been moved to a drug den. In the original opera, Alcina’s realm is a literal enchanted island of sensory pleasures. In Regensburg, the "magic" is psychological and chemical. The production deals explicitly with substance abuse and addiction. Alcina's palace is presented as a high-society luxury prison or an upscale drug den. Ruggiero's bewitchment is an intense, narcotics-fueled escape from his real-world responsibilities. The "spell" breaking is not accomplished by a magical ring, but by a brutal, forced sobering up. The mythology and fantasy are all gone as well. The power dynamic between Alcina, her lovers, and her sister Morgana is stripped of any fairytale innocence. Alcina is portrayed less as an untouchable goddess and more as a deeply damaged, toxic, and controlling figure who uses violence and vice to keep her subjects trapped. And the ending was also changed: In Händel’s original ending, Ruggiero and Bradamante smash Alcina’s magical urn, her palace collapses, the transformed lovers turn back into humans, and a joyful chorus celebrates the triumph of virtue. Schmitt completely rewrites this conclusion. Instead, the third act visually shifts away from the island or a seashore, transforming into a stark, sterile chamber music hall. Instead of fading into the shadows or fleeing, Alcina dies right there during a cello concert sequence. And there is no happy ending. When Ruggiero is "rescued" and brought back to reality, there is no celebratory rejoicing. The production leaves the characters completely shattered. The liberated characters are left looking lost and hollowed out.
So, did I like this? Absolutely. It is a Late Baroque opera, and while this is far away from my musical centre of gravity, I am not fundamentally allergic to Baroque syntax or opera seria conventions when the dramatic and musical writing is top-tier. I was also quite positively surprised to see how Baroque music can be successfully recontextualised to reflect modern psychological issues. It is a piece from 1735 yet it feels very much like it is stemming from the present day.
So yes, this was absolutely fantastic.
