'Alcina' review — this fantastical Handel opera is a wonderfully witty Romantasy romp

Read our review of Alcina, starring Lisette Oropesa, now in performances at the Royal Opera House to 3 October.

The Royal Opera House grabs the bull by the horns – quite literally, as it is constantly overshadowed by beasts – in its revival of Richard Jones's witty Olivier Award-winning Alcina. Jones's fast-paced version of George Frideric Handel's Baroque masterpiece kicked off in 2022 and now features some outstanding original cast members, including Lisette Oropesa as sparkling enchantress Alcina and Emily D'Angelo's infatuated Ruggiero.

A lively romp that feels very modern, it's essentially a Romantasy tale with a love story (or several) in a fantastical world where Alcina transforms ex-lovers into wild animals so they can never leave her island. The Odyssey's Circe turning sailors into pigs and Shakespeare's Bottom in A Midsummer Night's Dream having his head turned into a donkey's by the fairy Puck both come to mind.

There's also an oversized bottle of Alcina perfume, which could come from a Chanel ad, that Alcina sprays on unsuspecting victims to turn them into birds and animals, and vibrant Hollywood-glamour sets with elaborately ruched curtains and a colossal bed (terrific design by Antony McDonald and delicious lighting from Lucy Carter).

And there's a crazily chaotic love triangle. To rescue her enchanted husband Ruggiero, who's been bewitched by Alina, Bradamante (played by a superb Beth Taylor) disguises herself as her brother Ricciardo. Alcina's sister Morgana (Mary Bevan) falls for Bradamante/Ricciardo, dumping her boyfriend Oronte (Ru Charlesworth), who then tells Ruggiero that Alcina is trying to steal Ricciardo.

As women are frequently put down or killed off in operas, it's refreshing to see strong women dominate here. There's a great deal of depth in their characters, like the supposed villain Alcina turning into a hugely tragic and heartbroken figure when she loses Ruggiero. True love is her final downfall and it's easy to relate to her deep pain.

Musically, conductor David Bates gets the best out of the Royal Opera House Orchestra and the singers. Oropesa's shattering aria "Ah, mio cor" is a highlight, along with D'Angelo's wonderful "Verdi prat" that he delivers while sitting in a tree, and tenor Ru Charlesworth's expressive performance as Oronte. However, Bevan's powerful "Tornami a vagheggiar" is the most marvellous way to end the first act. And, quite rightly, the audience loves 14-year-old Thomas Mayes' Oberto, a boy poignantly trying to find his father among the herd of trapped beasts.

Don't be put off by the somewhat daunting running time of three hours and 50 minutes, with two intervals: I've seen shorter productions that felt ten times longer. As there's always something happening and a great deal of warmth and humour to this inventive version of Handel's opera (which was ignored for nearly 200 years – it returned to stages in the 1960s), it merrily zips by; credit also to revival and movement director Sarah Fahie.

Besides, I can think of worse places to be than in the red-carpeted lobbies of the Royal Opera House, one of the finest arts institutions in London, which has bundles of beastly style, along with a captivating show weighing up seductive and dutiful love.

Alcina is at the Royal Opera House to 3 October. Book Alcina tickets on LondonTheatre.co.uk

Photo credit: Alcina (Photos by Ian Hippolyte)