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The Royal Opera

  • Jakub Hrůša

    Music Director

  • Oliver Mears

    Director of Opera

Alcina

Opera in Three Acts

Sunday 20 September 2026 2pm

The 45th performance by The Royal Opera at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

This performance lasts approximately 3 hours and 50 minutes, including two intervals.

  • Act I

    55 minutes

  • Interval

    25 minutes

  • Act II

    75 minutes

  • Interval

    25 minutes

  • Act III

    50 minutes


A co-production with The Metropolitan Opera, New York

Credits

  • Music

    George Frideric Handel

  • Libretto

    Antonio Fanzaglia

    arranged by Antonio Marchi after Ludovico Ariosto’s Orlando Furioso

  • Conductor

    David Bates

  • Director

    Richard Jones

  • Revival and Movement Director

    Sarah Fahie

  • Designer

    Antony McDonald

  • Lighting Designer

    Lucy Carter

Performance materials for Alcina edited by Siegfried Flesch, published by Bärenreiter-Verlag, Kassel, performed by arrangement with Faber Music Ltd, London.

Cast

  • Alcina

    Lisette Oropesa

  • Ruggiero

    Emily D'Angelo

  • Morgana

    Mary Bevan

  • Bradamante

    Beth Taylor

  • Oronte

    Ru Charlesworth

  • Atlante

    Edward Grint

  • Oberto

    Kieran Lund-Deely

  • Dancers

    Lauren Bridle

    Michael Barnes

    Jordan Cork

    Ashton Hall

    Sebastien Kapps

    Bridget Lappin

    Caroline Lofthouse

    Ryan Munroe

    Luke Murphy

    Anthony Pereira

    Jay Yule

Music credits

  • Orchestra

    Orchestra of the Royal Opera House

  • Associate Concert Master

    Melissa Carstairs

Continuo section

  • Cello

    Hetty Snell

  • Double Bass

    Tony Hougham

  • Theorbo

    Sergio Bucheli

    Eligio Luis Quinteiro

  • Harpsichord

    Oliver John Ruthen

    Edward Reeve

Production credits

  • Music Preparation

    Oliver John Ruthven

    Edward Reeve

    Christopher Willis and Richard Hetherington

  • Assistant Director

    Daniel Dooner

  • Assistant to the Movement Director

    Caroline Lofthouse

  • Language Coach

    Emma Abbate

The Royal Opera

  • Patron

    HM The King

  • Music Director

    Jakub Hrůša

  • Director of Opera

    Oliver Mears

  • Director of Casting

    Peter Mario Katona

  • Associate Director

    Netia Jones

  • Administrative Director

    Cormac Simms

Synopsis

Alcina, an enchantress, has lured many lovers to her island. When she tires of them, she transforms them into animals. Ruggiero is her latest lover – and his wife, Bradamante, has vowed to rescue him.

ACT I

Bradamante has disguised herself as her brother, Ricciardo, and travelled to Alcina’s island with Atlante, who is disguised as ‘Melisso’, a sailor. They are greeted by Morgana, Alcina’s sister, who is immediately attracted to ‘Ricciardo’. Alcina tells the visitors they may stay on the island, and expresses her love for Ruggiero. They meet Oberto, a boy. Oberto is searching for his father Astolfo (Bradamante’s cousin). Bradamante and ‘Melisso’ suspect the boy’s father has been turned into a wild animal by Alcina.When Bradamante and ‘Melisso’ question Ruggiero about his former life, Ruggiero – who has only a dim memory of Bradamante – scorns them. Morgana and her jealous lover, Oronte, argue fiercely; Bradamante recognizes her own feelings of resentment and pain in their dispute. Fuelled by his jealousy, Oronte tells Ruggiero that Alcina loves ‘Ricciardo’, hoping Ruggiero will rid him of his perceived rival.Enraged by Oronte’s malicious charge, Ruggiero lashes out at Alcina, who is hurt by his accusation. Alcina assures Ruggiero of her love, but he is tormented by doubt. ‘Melisso’ barely prevents the unhappy Bradamante from revealing her true identity to Ruggiero. Ruggiero, who is now deeply uncertain of Alcina’s love, decides that ‘Ricciardo’ is half-mad with desire for Alcina, and insists that he (Ruggiero) and Alcina are passionate lovers with eyes only for each other. Oronte’s plan works: Alcina intends to prove her love for Ruggiero by turning ‘Ricciardo’ into a beast. Morgana warns Bradamante to escape and rejoices in her love for ‘Ricciardo’.

INTERVAL

ACT II

‘Melisso’ reveals himself as Atlante. This jogs Ruggiero’s memory, and makes him realise the extent of Bradamante’s suffering. Ruggiero’s love for Bradamante is reawakened, and he longs to leave the island and see her again. However, during his reunion with his wife, Ruggiero is suddenly seized with doubts: he suspects that Bradamante is Alcina in disguise and rejects her. Bradamante is infuriated. Alone, Ruggiero is torn between Alcina’s enchantments and his newlyremembered love for Bradamante. Alcina prepares to transform ‘Ricciardo’ into a beast but is interrupted by Morgana and Ruggiero, who insists there is no need for her to prove her love in this way. Alcina withdraws her spell. With Alcina’s permission, Ruggiero leaves to go hunting, ambiguously declaring his devotion to his lover.

To Alcina’s dismay, Oronte informs her that Ruggiero has left her. Morgana refuses to believe Oronte when he informs her that ‘Ricciardo’ is leaving too – and she rejects him again. Morgana witnesses the happy reunion of Ruggiero and ‘Ricciardo’. As Ruggiero bids farewell to the island, Alcina tries to prevent him from leaving with a spell, but her powers have abandoned her.

INTERVAL

ACT III

Morgana begs for Oronte’s forgiveness, but Oronte is conflicted. Ruggiero meets Alcina and explains why he must leave. Ruggiero defeats Alcina’s forces in battle. As Alcina’s powers wane, Oberto denounces her. Bradamante vows to remain on the island until all Alcina’s victims have been restored to freedom. All approach the urn that protects Alcina’s magical powers. With Bradamante, Atlante, Oronte and the animals beside him, Ruggiero smashes the urn. The island’s enchanted creatures – including Oberto’s father Astolfo – are restored. They celebrate their return to human form, and ponder the loss of the animal ways that they have experienced.

Guidance

Content suitable for all

Children under the age of five are not permitted into our theatres. Children over the age of five must have their own ticket and sit next to an accompanying adult.

Language

Sung in Italian with English surtitles, which are displayed on screens above the stage and around the auditorium.

Generous support from

Further information

Digital cast sheets

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Guidelines

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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