Alcina / Falstaff, Hackney Empire, London

Alcina is Handel's riposte to Homer's Circe episode. As Joanna Parker's crumbling set reveals, the island is an enchanted world in collapse, where love is the one thing left to cling to. Period costumes are handsome: this looks like some elegant Jacobean precursor of Gainsborough, magically lit by Tina MacHugh.

Smouldering with passion and sensationally well directed, James Conway's staging is a masterpiece. Everything is mapped and nuanced; nothing is wasted. Moves are inspired. Characters lend poignancy to others' da capo arias by their prostrate poses. Conductor Gary Cooper draws unremittingly sensitive period-style playing from his compact band of musicians. Andrew Jones's English version works like a dream.

Amanda Echalaz is wonderful in the title role. Cooing, wooing, ranting, she runs the full gamut of emotions and convinces every time. The mezzo Louise Poole goes one better as Ruggiero, with her fulsome tone, warm sensuality and fabulous accuracy. Tenor Ashley Catling delivers Oronte's arias with finesse; Marie Elliott Davies is an enchanting Bradamante; Charles Johnston is affecting as the reproving tutor; Tamsin Coombs brings spirit to Morgana's upper registers. But it's Conway's directing that lures this Alcina into the realms of truly great Handel. Worth moving heaven and earth to see.

For two acts, Damiano Michieletto's staging of Falstaff is frankly abysmal. The comedy is unfunny. The sets are dismal; the lighting serves up shadows in the wrong places. Andrew Slater's knight fails to take fire. Stuart Stratford allows his instrumentalists to overbear. It's a miserable mess.

Then, in Act III, someone waves a magic wand. Freed of interruptions, Slater's hitherto wasted Falstaff briefly begins to shine. The Windsor forest set looks good. There's a new definition to the singing. The ghosting scene is nattily managed. The performers who really blossom are Rebecca Bottone and Thomas Walker as the young lovers. Go for them, and to enjoy Ronald Samm's promising Bardolph. I've seen several weedy Falstaffs of late, but this one takes the bucket.

Touring to 3 December (www.englishtouringopera.org.uk)