Pietro Antonio Cesti’s 1657 dramma musicale La Dori is a hoot. It seems to prefigure every plot device that will ever be used in opera. A baby sold by bandits who turns out to be a princess. Pirates. A ghost. Mistaken identities. Swapped potions. Men pretending to be women. Women pretending to be men. Love polygons of fiendish complexity. I won’t even attempt to explain the plot because it’s very complex and silly and hardly matters. It took me a half page diagram just to map the relationships between the characters.
Robert Carsen doesn’t seem disposed to treat Handel too reverentially. Although there is some of the trademark Carsen cool minimalism in his 2011 Glyndebourne production of Rinaldo (not to mention symmetrically arranged furniture) there’s also a degree of humour, as there is in his Zürich Semele. I find it very effective and, judging by the audience reaction, so did the people who saw it at Glyndebourne.