Written in 1735, Handel’s Alcina is associated with some of the greatest names in the opera world, from Renée Fleming to Cecilia Bartoli and, of course, Dame Joan Sutherland, who was dubbed La Stupenda after appearing in Franco Zeffirelli’s 1960 production at La Fenice, Venice. Now, as Emma Matthews prepares for her role debut, National Opera’s Artistic Director Peter Coleman-Wright talks to Limelight about his production, which is dedicated to Sutherland and will be presented under the patronage of Richard Bonynge.

Emma Matthews. Photo © Carolyn Mackay Clark

What lay behind your decision to present Alcina?

I thought it was a great vehicle for Emma Matthews, and I was determined to use all the great Australian singers who were not being used. It’s such a great score and it hadn’t been done for a while. People have asked me why I’m doing these [kinds of] operas, but there’s no point doing La Bohème, Tosca or The Marriage of Figaro when Opera Australia’s doing them with lavish productions. We have a small budget, so I wanted to do something with which I could really hone in on great singing.

Alcina is often associated with...