Michael Tanner

Torments of love

Handel’s Orlando, apparently one of his greatest operas, is much more impressive in the first revival of Francisco Negrin’s production at the Royal Opera than it was at its first outing in 2003. Though my visual memory is most unreliable, I remember it as revolving dizzyingly, with characters whipping through door after door as the tripartite set sped round.

Already a subscriber? Log in

Keep reading with a free trial

Get your first month free when you subscribe. After that it’s just £1 a week for full website and app access. There’s no commitment, you can cancel any time.

Offer ends in: ${days} days ${hours} hrs ${minutes} mins ${seconds} secs

Unlock more articles



Ends tonight:
10 weeks of unlimited digital access for £1

Join the conversation with other Spectator readers. Subscribe to leave a comment.

Get 10 weeks of online and app access for just £1. That's a saving of more than 80% off the usual rate.

Already a subscriber? Log in