photo by Ken Howard / Metropolitan Opera
Renée Fleming & Andreas Scholl
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The Metropolitan Opera revived composer George Frideric Handel’s “Rodelinda, Regina de’Longobardi” (Rodelinda, Queen of the Lombards, 1725), with libretto by Nicola Francesco Haym, after Antonio Salvi, with a high-level cast, on November 14, in a production that was new in 2004-2005 and last heard in 2005-2006. Conductor Harry Bicket, who kept the music moving along; Stephen Wadsworth, who devised the lively staging; and the vibrant cast, headed as before by Renée Fleming, saw to it that the long evening was anything but static.
“Rodelinda” has a knotty plot, of intrigue, power grabbing, and shifting loyalty contrasted with steadfast faith, at the royal palace in 18th century Milan. Thomas Lynch designed the sumptuous settings, including gardens, the stable, the dungeon, and a spectacular library; Martin Pakledinaz, the handsome costumes; and Peter Kaczorowski, the lighting. The continuo consisted of Bicket and Bradley Brookshire, on harpsichord; David Hess, on cello; and Daniel Swenberg, on theorbo, lute, and Baroque guitar.
Fleming delivered a satisfying, bel canto performance as Rodelinda, some vocal mannerisms and quirks notwithstanding, and shone in such arias as the angry “Spietati, io vi giurai,” when she confronted her foes, and mournful “Se’l mio duol non è si forte,” when she, once again, thought her spouse, King Bertarido, was dead. Countertenor Andreas Scholl had succeeded David Daniels as Bertarido and returned to the role this season, singing with purity and beauty, from his wistful entrance aria, “Dove sei? amato bene!,” to his bravura “Vivi, tiranno,” near the end. Fleming and Scholl blended voices mellifluously in their one duet, “Io t’abbraccio,” which concludes Act Two. Also resuming her role was Stephanie Blythe, as Eduige, Bertrarido’s sister, and off again, on again ally, making every florid solo a gem.
There were four newcomers to the cast. Tenor Joseph Kaiser has made his name here as Charles Gounod’s Roméo and Richard Strauss’ Flamand, in “Capriccio,” and Narraboth, in “Salome.” In “Rodelinda,” he portrayed the usurper of the throne, Grimoaldo, and it is good to report that he is as adept at singing coloratura as he is at shaping a lyric line. Bass-baritone Shenyang, who has been a Met Masetto, in Wolfgang Amadeus Mozart’s “Don Giovanni,” and Colline, in Giacomo Puccini’s “La Bohème,” was new as the treacherous Garibaldo, who makes one of his third act exits on horseback here. He got to show off his Handel singing as the King of Scotland in “Ariodante,” at Juilliard, and it was good to hear him sing florid music at the Met now. The evening’s other star countertenor, making his Met debut, was Iestyn Davies, as Unulfo, serving Grimoaldo, but loyal to Bertarido, who had impressed as Arsace, in the New York City Opera’s “Partenope,” and did so again in his coloratura arias here. Young Moritz Lynn, in the silent role of Rodelinda and Bertarido’s brave son, Flavio, completed the cast.
Repetitions of “Rodelinda” take place on November 19 and 26 at 8 p.m., 23 and 30 at 7:30 p.m., and December 3 at 12:30 p.m., 7 at 7:30 p.m., and 10 at 8 p.m. Anthony Roth Costanzo makes his Met debut as Unulfo on December 7. For tickets, priced from $25 to $345, visit www.metopera.org, telephone 212/362-6000, or come to the Met box office in Lincoln Center on Monday through Saturday, from 10 a.m. to 8 p.m., or Sunday, from noon to 6 p.m.