With a cast of versatile, internationally acclaimed singers, Handel’s Rodelinda was an unexpected hit. The Metropolitan Opera House is not known, particularly, for its Baroque repertoire. Director Stephen Wadsworth, who has had experience both with Baroque opera and the MET’s cinematic opera experience, provided a new, highly dynamic take on Rodelinda.
The plot is a mess of love, jealously, and ambition. The king, Bertarido, is thought to be dead. The opera opens to a dark chamber where Rodelinda and her young son are being held prisoner by Grimoaldo. When Grimoaldo, played by tenor Joseph Kaiser, is first introduced, he is ambitious and ruthless. Loyal to her husband’s memory, Rodelinda has thus far refused Grimoaldo’s marriage proposals. Finally, Grimoaldo threatens to have Rodelinda’s son killed if she will not marry him. Rodelinda accepts his proposal under the condition that he kill her son himself right there in front of her. Having disposed of the king, spurned the love of the princess Eduige, and imprisoned the queen and her son, I half expected him to take Rodelinda up on her offer; however, Grimoaldo does not kill the child. Grimoaldo’s hesitation at that moment is the beginning of his transformation.
Kaiser’s portrayal of Grimoaldo’s raging and conflicted emotions with strikingly realistic. His ample voice had a clean sound. His ability to juggle Handel’s rapid embellished passages and passionate, often very physical acting was astounding. Even as a newcomer to this production, which had its MET debut in 2004, Kaiser’s portrayal was one of the most engaging and showed a realistic transformation from tyrant to a man humbled by compassion.
Rodelinda had two prominent countertenor roles: King Bertarido, played by Andreas Scholl and Unulfo, played by Iestyn Davies. Andreas Scholl carried himself with all the nobility of a king. His voice rang with ease and clarity. Despite his regal presence, Scholl was able to show a passionate side, although far more subdued than Kaiser’s. Both in sorrow and in happiness Scholl maintained an appearance of stately composure without diminishing the depth of the King’s emotions. Davies, like Kaiser, a newcomer to the production, was unconditional loyalty itself in the role of Unulfo. Unulfo is the only one who knows the King is still alive. He provides him with disguises, reunites him with his family, and releases him from imprisonment, never wavering in his loyalty even after the King mistakenly wounds him. Vocally, Davies showed impressive vocal precision and a sweetness of tone that worked perfectly with Unulfo’s good natured character.
Perhaps one of the most beautiful moments of the opera is the melancholic Act II farewell duet between the King and Queen, “Io t’abbraccio”. Having only just discovered her husband still lives, Grimoaldo discovers the two together and condemns Bertarido to death. Renee Fleming, in the title role, played a fiery, strong Rodelinda. Her lines were saturated with emotive vocal color and dynamic. Scholl and Fleming had a very natural chemistry, both physically and vocally. From trills to ornamentation, Fleming proved herself very capable in the Baroque style, but also in her vocal expressivity. Fleming showed Rodelinda's strong character early on with her fiery Act I aria, "L'empio Rigor del Fato," but took on a completely different, still strong, but bright tone for her final cabaletta "Mio Caro Bene."
Another star amongst the cast was Stephanie Blythe in the role of the King’s sister, Eduige. Although vocally impeccable, Blythe’s character showed little livelihood onstage. Bass Shenyang, in the role of the scheming Garibaldo, provided a great foil to the loyal Unulfo in both character and voice type. As one of Grimoaldo’s counselors and but also Grimoaldo’s would-be murderer, Garibaldo is the epitome of ruthlessness. This ruthlessness carried over in his vocal tone and his extremely resonant voice was surprisingly heavy, but nonetheless nimble.
At the baton was Baroque specialist, Harry Bicket. With everything from harpsichord to theorbo, the MET orchestra did a fine job creating a beautiful Baroque sound.
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