The singers let loose their vocals like mellifluous acrobats.
I have become such a huge fan of Handel’s operas (contemporary composers of opera seem to tilt the complexity away from the vocals in favor of the orchestra). 250 years ago was the age of castrati and vocals were the rage. However between the flying vocals are recitative sections of talk/sing accompanied only by a harpsichord that considerably slow down the forward energy of the show. This production along with others have been doing some amazing things to keep the audience involved and the problem posed of recitative has become an opportunity. Tonight, the set is a star of its own with almost as much depth as the characters.
For starters it moves like train cars from left to right and I’m convinced there is more set than the building is wide. Among these sliding stages are a thousand books, gorgeous textures, iron work and stone sculptures. During Act III, the stage rises rises rather than slide to reveal an underground prison. Miraculously we still see the character from the last scene anguish over his decisions 30 feet above the lower stages dark prison. Both scenes are simultaneously cast in moonlight. Someone is talks a few rows over to momentarily spoil the magic.
It’s always disappointing when people talk during a performance. How do they not know how selfish that is!? They should be more like me and my paramour who to avoid talking during performances have a practiced lexicon of non-verbal communications to share what we are feeling: a hand squeeze, arm caress, head on a shoulder, and my favorite – spider fingers. Today when I see a horse on stage I straighten up and stretch my head like a turtle. I squeeze her knee . I am absolutely frenetic – spider fingers – a real horse! I love the Met has live animals (and this good boy unlike the restless horses from Falstaff and Aida is well behaved and enjoying some hay).
The cast radiates a warm affection upon the stage today. It’s infectious and the opera unfolds wonderfully and thinking back to Agrippina, Handel writes remarkably modern roles for women. Rodelinda demonstrates her strength and independence on multiple occasions. My favorite is when Garibaldo (an Iago or Darth Vader type character) threatens to kill Rodelinda’s son if she doesn’t marry Grimoaldo. She has to acquiesce, but she sees a potential future and strongly adds, ‘fine I will be his queen! But, the first thing I am going to do as queen – is kill you and use your head as stepping stone to the throne.’
Chaltin says, “Handel gives us strong women who are underestimated and have to clean up all the messes made by men.” On behalf of all men, I accept this criticism
I wouldn’t call this a comedy, but after some confusion it has a happy ending. The duet that closes Act II between Rodelinda and Bertarido steals my heart away.
During intermission my paramour and I transform into a comfortable old couple who do our own thing, Chaltin likes to hold the seats and I like to wander. Spring is on its way meaning there is still light to enjoy after the opera – we choose oysters and share a raccoon sighting.
Thank you Handel, you handled us well 🙂
So what’s Rodelinda all about? The king Bertarido is thought to be dead leaving his widow Rodelinda in the clutches of the usurper Grimoaldo and his evil henchman, the Iago like, Garibaldo. What does it mean to be a good friend, husband, king, lover? The characters are all tested by circumstance and the ambitions of Grimoaldo to wonderful and at times hilarious results.
Notes on the Production:
Conductor………………………….. Harry Bicket
Rodelinda…………………………….. Elza van den Heever
Bertarido……………………………… Iestyn Davies
Unulfo……………………………………. Anthony Roth Costanzo
Eduige…………………………………… Sasha Cooke
Grimoaldo……………………………. Paul Appleby
Garibaldo……………………………… Adam Plachetka
Flavio…………………………………….. Brandon Chosed
Met Opera
3/20/22