Katie Mitchell’s production of Handel ‘s Alcina recorded at Aix-en-Provence in 2015 is extremely interesting. It’s almost complete with maybe twenty minutes of the ballet music cut. None of the ballet is actually staged as such. It’s also a Mitchell special multi-space set (like Written on Skin) with the lower level having Alcina/Morgana’s boudoir, drawing room or whatever at any given moment flanked by two smaller spaces which are the “personal” spaces of the two sisters. When the ladies withdraw from the public/enchanted space they are replaced by actresses who look decades older. Only late in the piece as Alcina’s magic fades do the two worlds get confused. The upper level of the set is taken up with the giant machine that turns Alcina’s victims into taxidermied animals. The overall aesthetic is upscale modern with lots of actors as very competent servants.
Haydn’s Orlando Paladino is a “heroic comedy” based, of course, on Ariosto. In this version Angelica, queen of Cathay, and her lover Medoro have fled to a remote castle to get away from Orlando who is in love, of course, with Angelica. There’s a shepherd and shepherdess, a sorceress, a squire and Rodomonte, the king of Barbary thrown into the mix and various misadventures ensue until the sorceress, Alcina, dips Orlando into the waters of Lethe causing him to forget being in love with Angelica and it all ends happily. There are also a bunch of non-singing characters who, I think represent the “dangerous” people of this remote country. For reasons I haven’t quite fathomed they include a bishop and a bearded air hostess.
Dmitri Tcherniakov’s Don Giovanni recorded at the 2010 Aix-en-Provence festival is full on Regie. He takes the characters and story of Mozart/DaPonte and recasts them quite radically. Zerlina is Donna Anna’s daughter. Donna Elvira, Donna Anna’s cousin, is married to Don Giovanni. Leporello is a family member too. The sense is of one extended, conventional, bourgeois family in which Don Giovanni is a fatally disruptive intrusion. Tcherniakov changes the time line too. Instead of taking place over a 24 hour period the story plays out over many weeks.
Christof Loy’s production of Handel’s late oratorio Theodora was a critical and popular success at the 2009 Salzburg Festival and deservedly so. That said, certain decisions seem a bit perverse. The G minor organ concerto HWV 310 is interpolated in Part 3, which is fine, but why cut a fine number like “Bane of virtue” in Part 1 or “Whither, Princess,do you Fly?” in Part 3? There are a bunch of other, rather odd, cuts in Part 3. Still it doesn’t do serious damage to a fine performance of an interesting production.