Richard Jones’s new production of Rodelinda for English National Opera sets the action in a claustrophobic and panoptic fascist state. All seeing and intense it brings the point of power and an analysis of its caustic effects under a microscope but the focus occasionally fades, however considering the clunkiness of the original plot this is no small measure.
Rodelinda is an epic story of love, power and mistaken identity. Bertarido has been driven from his kingdom by Grimoaldo and is presumed dead, leaving behind his grieving wife, Rodelinda. Grimoaldo will imprison Rodelinda unless she agrees to marry him, thereby allowing him to seize Bertarido’s throne for himself. But then the exiled king returns in disguise…
Read the synopsis here:
Handel’s epic story of love, power and mistaken identity is presented in opera seria; a seemingly endless set of arias that ebb and flow in mood and meaning with no reflection of our comfortable and lazy ways or much accommodation to the fashion of narrative drive these days. The opera is a triumph, but not an easy one to present to the modern audience, tonight the ENO live up to their hype as the House of Handel.
Baroque specialist Christian Curnyn’s conducting was perfect, he lives Handel, it flows through his veins and he was at one with the Orchestra who were faultless tonight. He brought the music to life with his good natured conducting allowing the music to bounce out and surround us with its depth and charm. Welsh diva Rebecca Evans and Iestyn Davies as Rodelinda and Bertarido are simply wonderful, each rising to their endless arias with aplomb, satisfying and supporting each other and never over powering the music, this was pure Handel filling the auditorium of the Coliseum and wonderful to witness. John Mark Ainsley as Grimoalso was convincing and dark, Susan Bickley spot on and riveting. The two countertenors, Davies and Ainslie own the night, on their own they are brilliant, together they are revelatory and sublime. Matt Casey as son Flavio adding a silent choreographed contrast which brought the corrupting influence of dynastic power plays into a darkly humours spotlight were superb although the laughter was scattered.
Watch counter-tenor Iestyn Davies (Bertarido) sing ‘O, where are you, dearest beloved?’ from Act 1
Amanda Holden’s bleak but modern libretto is gripping and serves the music well. Holden understand the need for Handel’s females to have the space to shift in tone and texture mid lyric and gives space for Evans to shine time and time again. The cut open set from Jeremy Herbert supports the action only occasionally opening out (or disappearing) into a wow moment but then closeing in again to remind of the suffocating intimacy of this piece. The sleek costumes from Nicky Gillibrand and lighting by Mimi Jordan Sherin were superb; all tottering heels and slick cut suits, hard highlights and despondent shadows. All this adding into a feeling of being at something special and the auditorium recognised that too. The clever and funny use of three treadmills on front of stage to give us a feeling of the constant searching, leaving, returning and chasing of the characters was delightfully planned out by ‘movement director’ Sarah Fahiea and the performers got it mostly spot on with moments of soft humour.
Book now, go see these acclaimed Handelians Rebecca Evans and Iestyn Davies shine in ravishing glory, really, they are that good. BOOK NOW. NOW
Playing some of the more silly baroque plot turns and narrative flourishes for laughs keep the audience on board and oddly allows the tension to continue, ignoring these fatuous and silly plots, so popular in their day and embroidered into the heart of the piece is often a more troublesome reaction than allowing the pure panto moment to shine, engaging the audience with the singers in a real moment of intimate silliness. Delightful. Is it serious or tongue in cheek? I think Jones has managed that great triumph of producing Handel in getting the ambiguity just right, it’s as funny as it’s serious but just where the line lies depends on the performance and the timing of the singers, they got it pitch perfect tonight. Allowing knowing laughter to bump along the plot but silencing the irony with pure unadulterated emotional volcanoes of bliss. Jones & Curnyn are to be congratulated on their superb collaboration on getting the timing, the angle and the swelling pressure of the rising glory of this most perfect of Handel operas spot on.
So, what can I say, did I swoon? Yes, did I weep? almost; but no. But then the only thing better than a live Handel Opera in my world is a live Handel opera with plenty of Chorus, this almost perfect Rodelinda gets 9.5 out of ten only for that reason, not for any fault of the production, performers or music, they were all on top blissful form, but because mean old Mr Handel didn’t want the chorus. Shame on him and his opera seria, and glory to the ENO.
If you’re a fan of Handel then you really should have already booked your tickets for this, if you love Baroque opera then book now, and if you would like a sublime night out full of pure rapturous singing and some rather delightful moment’s then book now. This has all the hallmarks of a much needed ENO Hit.
Recommended.
Running time: 3hrs 30mins (including 2 intervals)For more info or to buy tickets see the ENO website here:
Until March 15
March 4,6,8,11,13 & 15 at 7pm
ENO
London Coliseum
St Martin’s Lane
London
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