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English Touring Opera’s new Radamisto took time to settle down on opening night.

Superb singing and skilful acting make a good case for Radamisto in a conceptually ambitious new production which, while not entirely successful, is well worth seeing. 

Handel’s Radamisto has an improbable plot (although average by Baroque opera standards) which can make it difficult to stage. The most recent staging in London was the ENO production in 2010, which had a largely abstract setting.

When the Theater an der Wien’s in-house magazine featured an article about costumes created by none other than Christian Lacroix for this new production of Radamisto, I was intrigued by the pictures, but also a bit nonplussed by the idea that his gowns had been hand-painted in order to illustrate the different levels of Radamisto’s nightmare.

Handel’s opera Radamisto received a welcome staging at the English National Opera last Thursday, following on from their successful productions of Agrippina and Partenope in recent years.

Ein exquisites Ensemble unter Francesco Corti feiert ein finales vergebensreiches Schwammdrüber des äußerst seltenen Radamistos, das mich sicherlich nicht vergessen lässt.

L'opéra était présenté dans une version de concert passionnante, avec un très grand Il Pomo d'Oro et une distribution excellente en tout point.

In einem minimalistischen Bühnenbild aber durch höchst intensive Charakterisierung der Figuren gelingt an der Frankfurter Oper mit Händels Radamisto ein außergewöhnlich packender Opernabend.