Ludovico Ariostos versepos ”That raging Roland” (”Orlando furioso”), which was completed in 1532, was a huge influence on the various arts for several centuries. Not least at the opera, where the story’s many passionate relationships, dramatic situations, and the magical elements fit like hand in glove. Around 100 operas based on the different parts of the Ariostos masterpieces, most of which were added during the baroque period. London’s operakung Handel wrote three operas based on The ”furious Roland”; ”Orlando” from 1733 was the first of these.
When director Ellen Lamb, the composer Johan Ramström (who previously worked together in ”The long, long journey” at the Royal Swedish Opera) and librettist Sophie Helsing (”My brother is Don Juan”) now takes on Handel’s ”Orlando” do they make a updated version that almost feels like a new work. Handel’s music mixed with Vivaldi (who wrote the music to three different ”Orlando”-operas) and new music composed by Ramström, and the fact is that everything flows together very nicely to an enjoyable unit. Instruments bass drum, glockenspiel and celesta that makes this ”Orlando” to feel anything other than trapped in the baroque era.
in Spite of the appendices have been deleted so much that the opera has slimmed down to an act that is over in an hour. Handel’s and Vivaldi’s ”Orlando”-operas is three acts long. But this fresh set, which is a collaboration between the Royal Opera and Confidence, are addressed to a young audience, and then it’s maybe smart to create a tight performance that does not deter from future visit to the opera.
the Knight Orlando struggles in Charles the great christian war of conquest in the 700’s, the african prince Medoro belongs to fiendesidan. When the wounded Medoro is found in the woods of the princess Angelica, like Orlando love, and the shepherdess Dorinda, determines the two women to Medoro be cared for in secret at the home of Dorinda. Both women are in love with Medoro, but it is angelika’s love, which he answers. Dorinda thus gets his heart broken, as well as Orlando when he understands that Angelica loves another, and it is this that triggers Orlando’s famous rage and madness, the core of the whole story.
the Problem with this slim version is that Orlando’s exploding kärlekssorg not get so much space. In Ariostos poem, he runs around nude in the blind destructiveness – he kills to Medoros horse – but it is less dark of the Handel and even nicer in this new version. Angelika is here no frightened victim but a tough and confident woman who karskt disarms Orlando. A nicer image of course, but in the unpleasant, there are striking dramatic, so it is a pity that it has been ground away. It has also toned down the supernatural elements – the magician Zoroastro is this more a wise old man than someone who actually deals with magic. It makes the story more realistic, but it will be at the expense of the great stage magic trick that was so typical of baroque opera.
Still is the ”Orlando” not more than worth seeing. The music is great, and the singers are superb (in particular, Tessan-Maria Lehmuussari Angelika and Therese Ahlbeck as Dorinda), and Lena Lindgren’s costume design is gorgeous (even if klasskillnaden between Angelica and Dorinda blurred). The set design is simple but at the same time highly varied, and to visit the 1700-talsteatern Confidence is an experience in itself.
Many operas dealing with relationships between parents and children, but in this ”Orlando” is all the focus on the young people and their feelings. It is almost like watching the tv series ”Shame” in riddaroperaversion. Clearly refreshing.
