Rodelinda By Georg Friedrich Handel
Rodelinda
By
Georg Friedrich Handel
Handel is unquestionably one of the most gifted composers of the Baroque period. (1600-1750) Although born in what is now Eastern Germany, he migrated to England where he achieved enormous fame and wealth. For a period of twenty years he both wrote, staged and produced operas, mostly of his own creation. He was idolized by the English who referred to him as “Our German.” His opera Rodelinda along with Giulio Cesare and Tamerlano are considered to be his three operatic masterworks.
Individuals who are not familiar with the Baroque style will find it quite a bit different than music by say Beethoven or Tchaikovsky written almost a century after the Baroque period ended. The Baroque style is characterized by complex melodies played in a highly ornamented fashion. The use of “mordents” (single rapid alternation of a note with the note above or below) occurs frequently throughout the vocal lines. Frankly, it’s quite challenging to sing Baroque music; overall the cast did a commendable job.
In Handel’s time this style became a great platform for singers to demonstrate the full range of their vocal skills. Many of the “star” singers of this period were “castrati,” males who had been castrated at puberty to preserve their high vocal ranges. Today, males with a high vocal range are called “countertenors.”
The plot of Rodelinda is as complex as the music: When the King of Lombardy dies he divides his kingdom into three parts, giving each to one of his three children Bertarido, Eduige and Gundeberto. On the sidelines, seeking power and land is Grimoaldo, the Duke of Beneveto who is busy courting Eduige. The plot quickly becomes quite convoluted with the entrance of Rodelinda who is married to Bertarido but desired by Grimoaldo. Since the staging of this performance is quite static, and the scenery and costumes minimalist to the extreme, it was difficult to figure out what was going on. I found myself retreating to the music for aesthetic relief. Under the baton of the SFO’s music director and baroque specialist Harry Bicket, the music became, for me, the outstanding component of the opera.
(Note: Avid fans of baroque music should pay attention to the sounds of two “theorbo,” coming from the orchestra pit. The theorbo is a plucked instrument of the lute family with an extended neck; It was used to play basso continuo accompaniment parts frequently alongside a harpsichord.)
In this performance of Rodelinda the singers were basically all solid, including the two countertenors, Lestyn Davies (Bertarido) and Unulfo (Hugh Cutting). I also enjoyed the bass, William Guanbo Su in the role of Garibaldo. His ornamental vocal displays in the lower registers provided a pleasant contrast to the tones of the other “higher register” singers.
OPERA: Rodelinda
COMPOSER: Georg Friedrich Handel
PERFORMANCE: August 21, 2026 (8:00 pm)
TICKETS: Santa Fe Box Office 505-986-5900
REVIEWED BY: Barry Cooney, for the New Mexico Men’s
Wellness Organization / NMMW.org
