Though not one of Handel’s best-known operas, Ottone is packed with first-rate arias and duets. And indeed, in this pacy reading by Jonathan Peter Kenny it bowls along with never a dull moment.
The story is the usual farrago of incomprehensible plotting and mistaken identity. Ottone and Adelberto are rivals for a throne and a princess, and there’s the pirate Emireno who turns out to be a prince (real name Basil). Adelberto’s mother, Gismonda, having been revealed as a ruthless usurpress, is suddenly given one of Handel’s ravishing E major arias to round off Act One. She scarcely deserves it but Gillian Webster seizes her chance and delivers it beautifully.
Her no less sturdy rival, Mathilde, is equally well characterised by Rosie Aldridge, while the role of the princess, Teofane, is sung with expressive delicacy by Louise Kemény. The male roles are strongly cast too. Clint van der Linde commands a beefy tone as the imperious Ottone, while another countertenor, Andrew Radley, provides contrast with his supple, stylish singing. As for Emireno, Grant Doyle’s warm, eloquent tone assures us of princely virtue behind the piratical façade.
Kenny’s brisk conducting maintains momentum but he also allows lyricism to flower. James Conway has given much thought to the motivation of his characters but it’s not always evident in a production (designed by takis) that inclines to the functional. One longed in vain for something arresting or inspirational to happen.
Still, it’s a hugely enjoyable and impressive show that can be seen in tandem with Haydn’s Il Mondo della Luna on nationwide tour.
(020 7833 2555, englishtouringopera.org.uk)
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