Between Lausanne and Nice, the opera Orlando by George Frideric Handel has been reimagined by director Mariame Clément, with a focus on the emotional and psychological turmoil of the title character. Under the baton of conductor Jean-Christophe Spinosi, the orchestra is tightly synchronized with the opera's themes of love and madness. Orlando, which delves into the complexities of romantic entanglements, follows a plot where five characters are caught in a web of affection and conflict. The opera, known for its minimal narrative structure among Handel's major works, is often challenging to stage. Clément's production brings the story of the 16th-century epic Orlando Furioso by Ludovico Ariosto into the context of modern life, raising questions about contemporary relationships. The production features a spoken prologue that evokes the chivalric ideals of the past, now reinterpreted in the context of 21st-century gender dynamics. Orlando is portrayed as a modern teenager, with his appearance and behavior reflecting the influence of a historical knight. The other characters, while seemingly more conventional, also display complexities. Angelica hides her feelings, Medoro lies about his love for Dorinda, and Dorinda conceals the origin of a gift. These layered relationships underscore the opera's exploration of love and deception. Orlando's descent into madness is depicted through a clinical diagnosis that explains his recurring lapses into the myth of Orlando Furioso. The set design by Kaspar Glarner complements the narrative, with a massive helmet serving as a symbol of Orlando's isolation. This helmet, which appears to be from a bygone era, becomes a place where Orlando records his thoughts. The set's design, with its shifting elements between fantasy and reality, enhances the opera's themes of mental instability. While the production's metaphorical depth is occasionally diluted by more literal stage elements—such as a medical office and an airport with a humorous airline name—these additions could have been more seamlessly integrated. The cast includes new performers, with the exception of Marie Lys, who returns to reprise the role of Angelica. Her performance adds a new dimension to the character, previously portrayed with more restraint. The vocal performances are strong, with Emilie Rose Bry delivering a compelling rendition of "Amor e tal vento," earning her applause. Fernando Escalona brings depth and emotion to Medoro, while Joan Martin-Royo finds a new dimension in Zoroastre. Rémy Brès Feuillet's portrayal of Orlando is transformative, showcasing the versatility of contemporary countertenors. The direction by Jean-Christophe Spinosi unites the Ensemble Matheus and the Nice Philharmonic Orchestra into a cohesive and dynamic performance that challenges traditional interpretations of Handel's style. Mariame Clément's production of Orlando concludes with a happy ending, typical of opera seria, but the resolution is not entirely clear. As the curtain falls, Orlando is still captivated by his reflection in the helmet, leaving the audience wondering if his madness will return. The performance, with its emotional depth and musical innovation, offers a fresh perspective on a classic work.