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Alcina (2000)

TV Movie  -   -  Drama | Fantasy | Romance
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(after "Orlando furioso"), (adapted from libretto L'isola della Alcina)
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Title: Alcina (TV Movie 2000)

Alcina (TV Movie 2000) on IMDb 7.5/10

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Complete credited cast:
Catherine Naglestad ...
Alcina, Zauberin
Alice Coote ...
Ruggiero, von Alcina bezaubert
Helene Schneiderman ...
Catriona Smith ...
Morgana, Alinas Schwester
Rolf Romei ...
Oronte, Morganas Verlobter
Michael Ebbecke ...
Melisso, Bradamantes Erzieher
Claudia Mahnke ...
Oberto, auf der Suche nach seinem Vater
Heinz Gerger ...
Astolfo, Obertos Vater


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Did You Know?


Alcina, dramma per musica in tre atti (1735)
Music by George Frideric Handel (as Georg Friedrich Händel)
Annonymous libretto, adapted from the libretto of Riccardo Broschi's "L'isola d'Alcina",
based on Ludovico Ariosto's "Orlando furioso" (uncredited)
Conducted by Alan Hacker
Directed and dramturgie by Jossi Wieler and Sergio Morabito
Performed by Catherine Naglestad, Alice Coote, Helene Schneiderman, Catriona Smith,
Rolf Romei, Michael Ebbecke, Claudia Mahnke, Heinz Gerger with Staatsorchester Stuttgart
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User Reviews

A brave attempt to stage the impossible, with superb singing and playing.
31 January 2007 | by (London, England) – See all my reviews

Previous commentators seem to me to have underestimated the nightmare requirements facing producer and scene-designer. This must be the most ludicrous and arbitrary of all Handel's plots, though the music is as fine as the best. The key concept is sorcery, or bewitchment, and the production eschews lion skins and wild landscapes to concentrate on the metamorphic effects of sexual infatuation. This works well with the music itself, the usual cross-dressing and impersonations of the genre, and not least the beauty of the singers themselves. The giant false mirror/glass window is a powerful device for switching between reality and illusion, though admittedly it is not worked out very rigorously. (It is much more Alice Through the Looking-Glass than Duck Soup, incidentally).

Much of it is over the top. Too much tearing and shedding of garments and footwear abuse, perhaps, though there is a point to this. Too much alternation of modern and ancient weapons - I think they would have done better to stick with hand guns. And some of it escapes me completely - Ruggiero's collapse in the wedding photo line-up, for example.

Nevertheless I found it continually absorbing. The singing and orchestral playing is superb throughout, and the eroticism of the playing displaces concern about the psychological daftness of the plot.

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