A touring concert performance of 'Alcina' is led by Baroque specialist Harry Bicket and features an all-star cast.
We live in an era of deception. As if Facebook hadn’t already offered reason to fret over the amplification of fake news, now comes the prospect of an enchanted digital island, a so-called metaverse, in which our illusions, be they benign or ill-intentioned, may run free.
“Alcina” accomplishes this with little more than a series of marvelous arias — showy, merry, sweet, angry, amusing, seductive, pastorale, heartbreaking, feverish, mystifying — patched together with a recitative that can make unpacking a gender-bending narrative such as this one a challenge. Had it been performed in its completion by the English Concert and singers, the performance would have lasted well over four hours.
But it is not that easy. Alcina and Morgana get the most extravagant arias. They feel the most strongly. They have the most humanity. The banality of evil is, for Handel, too banal. Although she is portrayed as the villain, Alcina’s suffering is universal. We see ourselves, our own troubled impulses, in her and, to some extent, in her helpmate Morgana. They carry us away with every memorable aria. No one who sings such engrossing, and often ravishing, music with such candor can be all that bad.
Elizabeth DeShong slyly negotiated the gender-fluid characterization of Bradamante. Alek Shrader, as the jealous Oronte , and Wojtek Gierlach, Bradamante’s tutor and truth-teller, commanded their thankless roles.
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