The 20-plus musicians of The English Concert, presided over by Liverpudlian Harry Bicket – who also displayed virtuoso finger work on a period harpsichord – did not play in the pit, where James Conlon usually conducts the LA Opera Orchestra. In their LA Opera debut The English Concert performed the three-act, three-and-a-half-hour production in, more or less, modern dress and sans the elaborate sets and props that often regale the Dorothy Chandler Pavilion’s sumptuous stage. An interesting plot point is the introduction of “The Ring of Truth,” a sort of ancient lie detector enabling the bearer to determine whether one’s beau or belle is being honest or, as the libretto puts it, “a cruel deceiver.” Ahh, the fickle finger of fidelity! Spells are cast, identities are mistaken, there are some gender bender twists and shapeshifting, as star-crossed lovers have their faithfulness (or lack of) challenged. The story, which Handel adapted from Riccardo Broschi’s 1728 Rome-set libretto of L'isola di Alcina, takes place at an enchanted isle presided over by the eponymous enchantress Alcina. The plot and theme of this delightful 18th century work would be familiar to devotees of Woody Allen movies – infidelity and shifting romantic partnerships, a sort of sexual musical chairs. Earlier this month, Angelenos had a special treat, an opportunity to enjoy a concert performance of Handel’s 1735 opera Alcina, presented by London-based The English Concert. Best known for his 1742 oratorio the Messiah, with its immortal, glorious “Hallelujah Chorus,” George Frederick Handel was also a prolific composer of operas.
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