Rodelinda (opera)
Rodelinda, regina de' Longobardi (HWV 19) is an opera seria in three acts composed for the first Royal Academy of Music by George Frideric Handel.[1] The libretto is by Nicola Francesco Haym, based on an earlier libretto by Antonio Salvi. Rodelinda has long been regarded as one of Handel's greatest works.[2]
Performance history[edit]
Rodelinda was first performed at the King’s Theatre in the Haymarket, London, on 13 February 1725. It was produced with the same singers as Tamerlano. There were 14 performances; it was repeated on 18 December 1725, and again on 4 May 1731, a further 16 performances in all, each revival including changes and fresh material.[3] In 1735 and 1736 it was also performed, with only modest success, in Hamburg at the Oper am Gänsemarkt. The first modern production – in heavily altered form – was in Göttingen on 26 June 1920 where it was the first of a series of modern Handel opera revivals produced by the Handel enthusiast Oskar Hagen.[3] The opera reached the US in 1931 and was revived in London in 1939.[4] A further notable London revival by the Handel Opera Society, in English and using a cut text, including both Joan Sutherland and Janet Baker in the cast, conducted by Charles Farncombe, was performed in June 1959.[4] With the revival of interest in Baroque music and historically informed musical performance since the 1960s, Rodelinda, like all Handel operas, receives performances at festivals and opera houses today.[5] Among other performances, Rodelinda was staged at the Glyndebourne Festival in the UK in 1998,[6] by the Metropolitan Opera in New York in 2004[7] and by English National Opera in 2014.[8] The ENO production was revived at the Bolshoi Theatre in 2015.[9] The Gran Teatre del Liceu, Barcelona, performed the opera in March 2019, with Lisette Oropesa and Bejun Mehta in the leading roles.[10] The Dutch National Opera staged Rodelinda in January 2020, with Lucy Crowe and Bejun Mehta in the leading roles.[11]
Synopsis[edit]
The argument[edit]
Prior to the opening of the opera, Grimoaldo has defeated Bertarido, King of Lombardy, in battle and has usurped the throne of Milan. Bertarido has fled, leaving his wife Rodelinda and his son Flavio prisoners of the usurper. Failing to secure support to recover his crown, Bertarido has caused it to be reported that he has died in exile, a ruse to be used in an attempt to rescue his wife and son.
Sources[edit]
The opera's libretto is by Nicola Francesco Haym, and was based on an earlier libretto by Antonio Salvi that had been set by Giacomo Antonio Perti in 1710. Salvi's libretto was derived from Pierre Corneille's tragedy Pertharite, roi des Lombards (1652), which dealt with the history of Perctarit, king of the Lombards. The ultimate origin of the story, as of Handel's Flavio, is Paul the Deacon's eighth-century work Gesta Langobardorum.[12] In the opera, 'Pertharite' becomes 'Bertarido'.
Notes
Sources