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Late 2017, early 2018: Rodelinda at ENO and Rinaldo at the Barbican

photo credit: hdvdarts.com

Now that venues are posting their 2017-2018 offerings it turns out that ENO is bringing out their 2014 production of the beautiful Rodelinda in Oct/Nov, whilst the Barbican is airing Rinaldo on 13 March, with a few features from the Glyndebourne production – Iestyn Davies 1 in the title role and Pisaroni as Argante + the addition of Jane Archibald as Armida. I have to say my £15 was for Pisaroni’s Sibilar gli angui d’Aletto. I hope the trumpets live up to the hype all the way to the balcony. I’m not sure about Rodelinda (Io t’abraccio in English) just yet, I might pull a Partenope-move and book at the last minute if I can’t get it out of my mind long enough.


  1. He sang in the recent revival which I missed because he’s not Prina

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 😉