If you have ever gone on a first date, having only a photo to recognise the person you are meeting, you will understand Teofane’s problem. This guy meets her, claims to be Ottone and, though he looks nothing like the portrait she has in her hand, how can she know any different?

And that is only one of the plotlines in Handel’s opera Ottone to Haym’s libretto. That’s Otto II, the Holy Roman Emperor, who is off fighting the Saracens when his future bride, the Byzantine princess Teofane, arrives in Rome; it is a diplomatic wedding, of course. Gismonda is plotting to replace Ottone with her son Adalberto – it is never satisfactorily explained what possible claim to the throne he might have, but hey! this is opera – and Ottone’s sister Matilda is infatuated with Adalberto.

As Handel’s operas go, there is plenty outrageous fortune, but it is a bit low on the slings and arrows. This is a very talkative opera, rather than action-packed. In fact, most of the action is from characters presaging their entry or exit by pushing elements of takis’ set into place. It is like a big, rounded alcove, split in half, with gold leaf frescoes and Byzantine / Roman decoration. Turned round, it looks much more industrial, metallic.

Elizabeth Karani is an elegant Gismonda, with a core of steel, and it is her idea that Adalberto take advantage of Ottone’s absence to usurp his position as Emperor and Teofane’s bridegroom. Her opening aria La Speranza e giunta in porto anticipates the working out of her plans. Nazan Fikret brings a rich voice to Teofane as well as the confusion and distress of her situation. She is wearing a gold lamé gown which catches the light, particularly in the aborted wedding scene when, with the addition of a preposterous head-dress, she glitters in the candle-light. 

Kieron-Connor Valentine’s Adalberto is light-voiced and more than a little under his mother’s thumb. One wonders if he would have had any gumption without her prodding. He certainly lacks any subtlety in the wooing of his stolen bride. Matilda’s infatuation with him is shrugged away, which adds to her pain. Lauren Young imbues her with as much dignity as her situation allows.

Meanwhile, Ottone has returned to Rome with a captive pirate from his battle with the Saracens. James Hall struts about the stage and his da capo ornamentation is arresting in its exuberance. He has no hesitation about imprisoning the usurping Adalberto. This may be the reason Gismonda bangs on later about Ottone being a tyrant, but really, who wouldn’t lock up a usurper? Matilda takes pity on Adalberto and releases him and the pirate, not realising Adalberto’s taking Teofane with him.

The pirate Emireno (Edward Jowle) certainly shows up Adalberto, knowing exactly how to further their escape. Jowle has a solid bass voice, and is almost a still centre to the storyline, the one who retains his dignity throughout – and turns out to be Teofane’s long-lost brother. Their duet is delightful.

Conductor Gerry Cornelius conducts The Old Street Band with sensitivity, in this revival directed by Christopher Moon-Little. Tim van ’t Hof’s lighting in the sea cave scene ripples; elsewhere it glimmers – a little like the performance as a whole.