A spellbinding story of power and redemption

This fairy tale that bewitches us with the powers of magic to seduce men, is one of the most beautiful operas by G. F. Händel. Perhaps the reason lies in the composer placing all the vocal potentiality in a compelling love story with fantastical edging and a score that enthrals for the great expressive capacity of its melodic beauty.

Alcina, a powerful sorceress lives on an enchanted island and uses her magic powers of seduction. Once tired of her conquests, they are transformed into wild beasts. However, when Alcina is touched by an unrequited love, amid a confusing web of sentimentality replete with episodes of jealousy, confusion and chaos, the enchantress is set adrift emotionally. This leads us to reflect about the abuse of power, redemption, and the possibility of embracing empathy and love. Today, Alcina is one of Händel’s most beloved and programmed operas and has been sung by important voices such as Renée Fleming, Natalie Dessay or Magdalena Kozená.

The soprano Jone Martínez and the mezzo Maite Beaumont, along with Lucía Martín- Cartón, Daniela Mack, Ruth González, Juan Sancho, and Riccardo Novaro, come together in splendid cast for the return of Baroque opera to the Maestranza. The production is by the well-known Lotte de Beer, with the ever-excellent Orquesta Barroca de Sevilla (Baroque Orchestra of Seville) in the pit, conducted by a veritable specialist, Andrea Marcon.

Libretto by Antonio Marchi, based on L’isola d’Alcina by Riccardo Broschi, Cantos VI and VII of the epic poem Orlando furioso (1516) by Ludovico Ariosto.
Premiere at the Royal Opera House of London on April 16, 1735.