Handel's Ariodante is a Royal Opera production that delves into the complexities of royal dysfunction. Director Jetske Mijnssen brings her own perspective to the opera, eschewing the traditional happy ending in favor of a more nuanced portrayal of the characters.
In this reimagined version, the audience is presented with a palace where spoiled princess Ginevra throws designer dresses around for her sister Dalinda to pick up. The scene, designed by Uta Meenen, highlights the tension between the two sisters and their suitors, Polinesso and Ariodante. However, as the opera progresses, it becomes clear that all five characters have growing pains to overcome.
The music, composed by Handel, is as captivating as ever, with some of his most memorable works. Yet, Mijnssen's vision sometimes puts the drama at odds with the music. The tension between the royal family's dysfunctional dynamics and the soaring arias can be jarring at times.
Despite this, the cast delivers solid performances across the board. Christophe Dumaux shines as Polinesso, while Ed Lyon brings depth to his role as Ariodante's brother Luciano. Peter Kellner, meanwhile, brings gravity to the throne, conveying vulnerability and gravitas as the ailing king.
The supporting cast also shines, particularly Emily D'Angelo and Jacquelyn Stucker, who bring magnetism and gleaming tone to their respective roles of Ariodante and Ginevra. However, both singers struggle with projecting text, often feeling like they're singing instrumental music rather than delivering lines.
In the pit, conductor Stefano Montanari weaves a dynamic but sometimes self-conscious score. The use of chamber organ and theorbo adds an inventive touch, but can also overpower the singers at times, leaving them to fight for air.
Overall, Ariodante is a complex and thought-provoking production that challenges audiences' expectations of traditional opera. While it may not always hit the mark, its bold vision and talented cast make for an unforgettable experience.
In this reimagined version, the audience is presented with a palace where spoiled princess Ginevra throws designer dresses around for her sister Dalinda to pick up. The scene, designed by Uta Meenen, highlights the tension between the two sisters and their suitors, Polinesso and Ariodante. However, as the opera progresses, it becomes clear that all five characters have growing pains to overcome.
The music, composed by Handel, is as captivating as ever, with some of his most memorable works. Yet, Mijnssen's vision sometimes puts the drama at odds with the music. The tension between the royal family's dysfunctional dynamics and the soaring arias can be jarring at times.
Despite this, the cast delivers solid performances across the board. Christophe Dumaux shines as Polinesso, while Ed Lyon brings depth to his role as Ariodante's brother Luciano. Peter Kellner, meanwhile, brings gravity to the throne, conveying vulnerability and gravitas as the ailing king.
The supporting cast also shines, particularly Emily D'Angelo and Jacquelyn Stucker, who bring magnetism and gleaming tone to their respective roles of Ariodante and Ginevra. However, both singers struggle with projecting text, often feeling like they're singing instrumental music rather than delivering lines.
In the pit, conductor Stefano Montanari weaves a dynamic but sometimes self-conscious score. The use of chamber organ and theorbo adds an inventive touch, but can also overpower the singers at times, leaving them to fight for air.
Overall, Ariodante is a complex and thought-provoking production that challenges audiences' expectations of traditional opera. While it may not always hit the mark, its bold vision and talented cast make for an unforgettable experience.
I just watched Handel's Ariodante at the Royal Opera House and I'm still reeling from the experience! 
The set design by Uta Meenen is insane - I loved how they incorporated all these designer dresses into the scene, it was like a whole new level of drama 
. And can we talk about the music? Handel's scores are always on point, but in this production, Stefano Montanari's conductorship added an extra layer of tension and emotion 
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. Christophe Dumaux as Polinesso was seriously stunning, and Ed Lyon brought so much depth to Ariodante's character 
. But, oh man, some parts felt a bit jarring - I mean, I get what Mijnssen was trying to do with the tension between drama and music, but sometimes it didn't quite work 
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. It's not perfect, but its bold vision and talented cast make it an unforgettable experience 
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! The director's bold choice to subvert the traditional happy ending is super refreshing 
. I'm all about exploring complex characters and dynamics, and this production definitely delivers on that front 
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. Maybe a bit more rehearsal magic could help those issues fade away? Still, the cast's overall performances are top-notch, with standout roles from Christophe Dumaux and Emily D'Angelo 
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. The conductor does an amazing job bringing it all together, even if some parts can feel a tad self-conscious 
. All in all, this production is a must-see for anyone who loves opera and is down for a wild ride 
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but yeah, sometimes it felt like the music and drama clashed. still tho, the cast was on point esp Christophe Dumaux as Polinesso, his voice gave me all the feels 
. And can we talk about the conductor for a sec? 
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Interesting how they're reimagining the classic Handel opera with this modern twist on royal dysfunction... 
. The supporting cast also brought so much energy to their roles 
. But, I have to say, I felt like some of the singers needed a bit more practice in delivering their lines 
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, and Stefano Montanari's conducting added an extra layer of emotion to the performance 
. The set design by Uta Meenen is insane, with Ginevra's designer dress tantrums having me giggling in the best way possible 
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! Ed Lyon brought so much depth to Ariodante's role as Luciano, and Peter Kellner's portrayal of the ailing king had me feeling all the feels 
. The supporting cast was also on point, particularly Emily D'Angelo and Jacquelyn Stucker - they totally brought the energy 
. But overall, I thought this production was totally worth it for its bold vision and talented cast 
The music is iconic, no doubt, but sometimes it feels like it's at odds with the drama 
And Ed Lyon as Ariodante's bro Luciano was fire 
, but we need more nuance in those supporting roles, you feel? 
The palace setting is SO on point, though 
is literally the most stunning place on earth! Have you ever been? I went there last year with friends and it was absolute paradise! We stayed in a tiny villa overlooking the sea, just waking up to the sound of waves crashing... anyway, back to opera 
... some of those actors just can't seem to project well. it's like they're fighting against the orchestra instead of working together. still, i guess it's cool that they're trying something different and all that