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George Fredic Handel's opera “Rodelinda” will be the next Metropolitan Opera high-definition broadcast at 10:30 a.m. Saturday at Colorado Mountain College in Breckenridge. Portrayed in this premier production of Handel's opera is a brief historical account of the Lombards, who had invaded northern Italy in the late 6th century, occupied Milan and the surrounding country side and ruled there for 200 years.
One of the reigning kings during that time, Bertarido (sung by countertenor David Daniels) has been deposed from the throne and allegedly killed by the usurper Grimoaldo (tenor Joseph Kaiser), aspiring to fill the now open kinghood. The opera opens with the now widowed Queen Rodelinda (with the radiant soprano Renée Fleming, in the title role) appearing in house arrest chained to her bed next to her young son, Flavio. After enduring a sleepless night, she sings an aria of despair over the loss of her now presumably dead husband. Fleming's portrayal of this role has been described as “luminous sound, exquisite ornamentation, floating high notes and emotional volatility.” Her despondency centers around Grimaoldo's ultimatum that if she refuses to marry him (providing access to the throne), “her son will die.”
The opera then evolves into a sequence of scenes in which several characters interact to pursue personal ambitions related to love, marriage, revenge and accession to the throne. Eduige (Stephanie Blythe), sister of deposed King Bertarido, Geribaldo (bass Shenlang), one of Grinmaoldo's henchmen, and Unulfo (countertenor Iesten Davies), one of the deposed king's loyal advisors, comprise these interacting characters.
The plot thickens when Bertarido, ever alive, re-enters the scene disguised as a Hun, only to be ultimately recognized by Grimaoldo and ultimately sent to prison. The remaining scenes and interactions in Act III focus on planning Bertarido's ultimate successful escape from prison. In the end, after another series of encounters, Grimaoldo has a change of heart, renews his promise of marriage to Eduige and restores wife, child and throne to the rightful king. Rodelinda joins the king in bidding farewell to their sorrows, and all celebrate the prospect of a happier future.
Handel is credited with demonstrating musical skill in conveying the psychological complexities of his characters. One complaint of this opera has been the persistent and tedious use of arias in achieving these portrayals. In fact, Renee Fleming herself, in the title role, delivers a total of eight arias, with one respite when Fleming and Daniels join in their renowned duet of despair at the end of Act II. Yet other opera goers have acclaimed, “what wonderful arias” that are all performed in the melodic style characteristic of the baroque musical period. One critic has acclaimed, “seldom has Handel's inexhaustible imagination seemed as miraculous as in “Rodelinda.'”
This production will be conducted by Harry Bicket in his Metropolitan Opera debut, with Stephen Wadsworth serving as producer, whose combined efforts have served to elicit compelling individual performances. Set designer Thomas Lynch produced sets that shift sideways to reveal various rooms and gardens during the production. One critic commented “lean in and listen — was it ever worth it.”
One of the reigning kings during that time, Bertarido (sung by countertenor David Daniels) has been deposed from the throne and allegedly killed by the usurper Grimoaldo (tenor Joseph Kaiser), aspiring to fill the now open kinghood. The opera opens with the now widowed Queen Rodelinda (with the radiant soprano Renée Fleming, in the title role) appearing in house arrest chained to her bed next to her young son, Flavio. After enduring a sleepless night, she sings an aria of despair over the loss of her now presumably dead husband. Fleming's portrayal of this role has been described as “luminous sound, exquisite ornamentation, floating high notes and emotional volatility.” Her despondency centers around Grimaoldo's ultimatum that if she refuses to marry him (providing access to the throne), “her son will die.”
The opera then evolves into a sequence of scenes in which several characters interact to pursue personal ambitions related to love, marriage, revenge and accession to the throne. Eduige (Stephanie Blythe), sister of deposed King Bertarido, Geribaldo (bass Shenlang), one of Grinmaoldo's henchmen, and Unulfo (countertenor Iesten Davies), one of the deposed king's loyal advisors, comprise these interacting characters.
The plot thickens when Bertarido, ever alive, re-enters the scene disguised as a Hun, only to be ultimately recognized by Grimaoldo and ultimately sent to prison. The remaining scenes and interactions in Act III focus on planning Bertarido's ultimate successful escape from prison. In the end, after another series of encounters, Grimaoldo has a change of heart, renews his promise of marriage to Eduige and restores wife, child and throne to the rightful king. Rodelinda joins the king in bidding farewell to their sorrows, and all celebrate the prospect of a happier future.
Handel is credited with demonstrating musical skill in conveying the psychological complexities of his characters. One complaint of this opera has been the persistent and tedious use of arias in achieving these portrayals. In fact, Renee Fleming herself, in the title role, delivers a total of eight arias, with one respite when Fleming and Daniels join in their renowned duet of despair at the end of Act II. Yet other opera goers have acclaimed, “what wonderful arias” that are all performed in the melodic style characteristic of the baroque musical period. One critic has acclaimed, “seldom has Handel's inexhaustible imagination seemed as miraculous as in “Rodelinda.'”
This production will be conducted by Harry Bicket in his Metropolitan Opera debut, with Stephen Wadsworth serving as producer, whose combined efforts have served to elicit compelling individual performances. Set designer Thomas Lynch produced sets that shift sideways to reveal various rooms and gardens during the production. One critic commented “lean in and listen — was it ever worth it.”
