Rinaldo, Royal Academy of Music

★★★★★

Handel’s Rinaldo, first performed in London in 1711, was his breakthrough Italian opera for the city, a bold mix of spectacle, virtuosity and instantly memorable music. It was originally designed to dazzle audiences with stage effects as much as with singing. This new Royal Academy Opera production, directed by Julia Burbach, strips away that machinery and replaces it with something far more interesting: imagination, pace and a sharp sense of theatrical play.

Burbach reframes the opera as a kind of self-aware performance within a performance. The action unfolds in a clean white box, with performers initially appearing in everyday clothes, as if stepping into roles before our eyes. It’s simple, but clever. Without heavy scenery, the focus shifts firmly onto storytelling, movement and music and it works. The staging feels light on its feet, fast-moving and often knowingly playful, especially in the final act where the drama tips into something almost comic without losing momentum.

Musically, the evening is a real success. David Bates drives the Royal Academy Sinfonia with energy and clarity, bringing sparkle and urgency to Handel’s score. The orchestra doesn’t just accompany, it actively shapes the drama, whether in the vivid instrumental colours or the rhythmic bite that keeps everything alive. There are moments where the orchestral sound almost steals the spotlight, but in a piece like this, that richness feels earned.

Agustin Pennino makes a compelling Rinaldo, singing with bright focus and technical ease. His 'Cara sposa' lands with sincerity, while the more virtuosic numbers have real fire. Caroline Blair’s Almirena begins with a sense of restraint, her 'Lascia ch’io pianga' beautifully controlled if slightly contained, but she opens up as the evening progresses, revealing more emotional depth. Ellie Donald’s Armida is a standout - bold, charismatic and clearly enjoying every moment, bringing both vocal precision and theatrical flair. Joel Robson’s Argante is less the usual swaggering villain and more a worn, oddly sympathetic figure, which adds an unexpected layer to his scenes. Yihui Wang and Pavel Basov round out the cast with confidence and charm. Basov’s Cupid-like Eustazio adding a playful thread throughout.

What impresses most is how cohesive it all feels. The choreography by Cameron McMillan adds shape and meaning, often expressing emotions that the libretto only hints at. Lighting by Robert Price creates striking contrasts and a few genuinely magical moments, especially in transitions where shadows and space are used with imagination.

This Rinaldo may not rely on spectacle in the traditional sense, but it finds its 'wow' factor in clarity, invention and musical strength. It’s original without being gimmicky, thoughtful without being heavy, and consistently engaging. A rare case where less really does become more.

Image credit: Craig Fuller