OPERA: ORLANDO

REVIEW BY IRINA DUNN

What a stunning new production of Handel’s Orlando this is, with an extraordinary set, wonderful lighting, beautiful costumes and best of all, a cast to die for.
The libretto is based on a romantic epic poem of the sixteenth century, Lodovico Ariosto’s Orlando Furioso, which captured the popular imagination with its tale of the paladin leader Orlando’s unrequited love for the pagan princess Angelica and his subsequent descent into madness.
Sydney audiences will be delighted with the performance of thirty-two year old Italian contralto Sonia Prina, who broke off her European season to come to Sydney to play the title role in Handel’s little performed work.
It is a challenging role. Orlando’s mad scene is no less terrible than old King Lear’s tragic scene on the heath and, to her great credit, Sonia Prino’s Orlando commands huge sympathy for his anguish, despite his bloody actions. Given that Prino was wrestling with a sheep on the floor at the same time demonstrates not only her physical agility but also her vocal command as she unswervingly hit every note in a long and difficult aria.
Soprano Rachelle Durkin was a regal Angelica. Her performance as the foreign princess who rejects Orlando for a soldier in the enemy camp was not only vocally captivating, but also dramatically exciting.
Angelica’s soldier lover Medoro is sung by counter tenor Tobias Cole, and what a sweet pair of love birds these two make, soprano and counter tenor entwining voices to weave their musical magic along the lines of the stave.
Soprano Hye Seoung Kwon gave us a charming and sweet Dorinda, the shepherdess, with a gentle touch of humour, while Richard Alexander was a commanding presence, a forebear of Sarastro in Mozart’s Magic Flute.
Director Justin Way has successfully tackled the static element of the Baroque to give us a production that is lively, visually interesting and dramatic. The clever and effective staging and visually arresting lighting and a selection of fascinating stage props greatly added to the enjoyment. The costumes were superb, too.
Conductor Paul Goodwin led a wonderful Baroque orchestra which understood the highly ornate nuances of Handel’s work.
And the cherry on the icing’ An opportunity to hear this very beautiful work by Handel sung by such a talented cast.
Handel may not be to everyone’s taste, but if you have never heard a Handel opera before, you couldn’t do better than to go to this OA production. Handel aficionados will love it too.

Orlando
Until September 11

Sydney Opera House
Tickets: $89-240, 9250 7777 or www.sydneyoperahouse.com