If you’d started senior school when this production premiered, you’d be finished by now and out in the world of work or at university, your first year days a distant memory. A lot’s changed since the curtain first came up on this version in 2011, and nearly a decade on, and in the wake of #metoo, Robert Carsen’s high school-set production feels more than a little out of date. Sure, it’s fun, but do we really need more stories told through the eyes of a dissatisfied juvenile male?
Carsen’s taken the plot of Handel’s 1711 opera - his first for the London stage - and transposed it into a 20th century classroom. Rinaldo is a schoolboy with a vivid imagination, who dreams up a world where he rescues and marries his crush, him and his chums are knights and he defeats his evil teachers. It looks great, although sometimes it’s a little unclear if Carsen’s trying to send a message, or just visually impress. A group of women dressed in niqabs and long black robes swirl on stage like whirling dervishes, before pulling off their outer layers to reveal short skirts, chains and fishnet stockings, transforming them into hyper-sexualised naughty schoolgirl stereotypes. Though some of the imagery seems a little pointless, the fickle nature of teenage desires are quite pertinent to the various shape-shifting and switching of loyalties that goes on in the opera.
Such silliness, to be properly pulled off, needs to be impeccably executed, and this was an aspect of the production which could not be faulted. The stagecraft was slick and synchronised, and choreography completely solid. The Christian Magician in this production - sung by countertenor James Hall (pictured below) - is a crazed-looking chemistry teacher, who's controlled explosions provide a fun element of frisson. Sometimes though the showiness of it all was a bit too much, and overshadowed the music’s subtle, suggestive swagger.
In essence, the production’s all just a bit too silly. Which is a shame, because behind the needless flamboyance was some truly fantastic music making. The Orchestra of the Age of Enlightenment, under the baton of the young Russian conductor Maxim Emelyanychev - who is soon to take over as Principal Conductor of the Scottish Chamber Orchestra - were on tremendous form, the rich timbre of their period instruments giving the music a burnished, golden hue.
In the title role, Polish countertenor Jakub Józef Orliński gave a sparkling performance, singing with lightness and clarity, displaying impeccable control when being flown from a bicycle at the end of act 1! His betrothed - Almirena - was beautifully sung by Giulia Semenzato. The Saracen queen Armida - or in this production, a stern teacher turned to pvc-clad dominatrix - was sung by Russian soprano Kristina Mkhitaryan, who performed the role with an assertive force, and duetted with Orlinski with a lustrous blend. Tim Mead’s Goffredo was light yet substantial, and Brandon Cedel sang the role of Argante with a robust strength. Musically, this was a splendid offering. It’s just a shame some of this was overshadowed by a production that's lost some of its relevance.
