Gorgeous Rodelinda (Teatro Real Madrid webcast, 31 March 2017)

duelling cembali!

How fitting for the Handel season – I found myself in the right place at the right time for this webcast (we used the medici.tv channel) and ended up having a very enjoyable watching party “with” thadieu and Agathe, based on Giulia’s report from the house (which you can read here if you haven’t yet; it’ll help make sense of what I’m only mentioning in passing). I’m not going into the whole thing because I don’t know Rodelinda enough but I wanted to share a few impressions:

  • what a (musically) wonderful opera! The perils of being exposed to the wrong singers/etc. come to mind when I think I’ve deprived myself of it for so long; lovely work from Bolton et all balancing the sweet mournfulness with the action
  • yes to the 5 countertenors but can Bejun Mehta spin a dulcet line or what? I was floored by Bertarido’s entrance aria. Looking forward to Gia dagli occhi… in 3 months’ time!
  • Eduige: more reasons to love Prina; seriously, the role works so well for her. Wish she had more to sing. She had some really fun things to do here, quite surprisingly considering it was a Guth production
  • speaking of Guth, I agree he doesn’t quite get the Baroque ethos, but I did enjoy the whole kid + nightmares part and the unexpected humour; the Personnenregie is always paid attention to in his work and it was here as well
  • I was further surprised how much I liked Lucy Crowe considering I’m not usually a fan. This was easily the best performance I’ve seen/heard from her.

no messing with the contralto 😉

About dehggial

Mozart/Baroque loving red dragon

Posted on April 2, 2017, in baroque, countertenors, mezzos & contraltos, sopranos and tagged , , , , , , . Bookmark the permalink. 5 Comments.

  1. that pix is just right, one wonders if she is taking it out also because she had to put on that dress 😀

    Liked by 1 person

  2. Thanks for this post, Dehggi, and it very much fits my impressions. On re-watch I still don’t really like that cat fight scene and Garibaldo’s enjoyment with it. But, it was very nice how Eduige turned into the hero saving the guy (which is a nice detail as well). So, more like this:

    On second watch I noticed a lot more of the staging concept, especially the child perspective is a good idea, and very sad, i.e. his drawings. Also, in this, it very effectively looked at the story from a modern perspective.


    • My pleasure 🙂 and thank you for alerting the gang 😉

      I guess I need to look into the libretto more, I was always fuzzy about how exactly Eduige fits in.

      perhaps there’s just not that much someone can do with this story update-wise. Most of what happens would be illegal today, especially among regular people.


      • There’s a short video clip on the characters of Eduige and Rodelinda (posted on SP’s facebook account) where the director mentioned that the huge character change of Eduige during the course of the storyline was quite unusual for a baroque opera character.

        Regarding update problems, yes, i.e. the scene during the overture (which I missed on Friday), showing Bertarido killing his brother for the crown is hard to swallow from a modern perspective and I did not find it helpful to connect to the unfolding family drama because it makes the character of Bertrarido rather incongruent and implausible from a modern perspective.


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