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Handel – Rodrigo Rodrigo – Gloria Banditelli This was performance that I can only be describe as a feast of baroque entertainment seen through 21st century eyes. From the fashion house of Enrico Coveri, the costumes were elegant period designs realised in vibrant colours and soft modern fabrics which allowed the singers to move with obvious freedom and comfort. Brightly dyed ostrich feathers added the final flourish. As the audience took their seats, the platform was dominated by an artistic pyramid of weaponry and armour: the sort of thing that would be carved from marble and mounted on the wall of a grand palazzo, but here moulded from creamy resin. It set the scene very effectively, although at mid-stage it proved a bit of an obstacle during the performance.The very awkward performing space in St John’s usually rules out anything more than the most rudimentary scenery, but last night modern technology came up with the neatest of solutions, and video projection delivered a kaleidoscopic panorama of Filippo Juvarra’s period set designs.
During the first act there is little sign of that wealth and variety of melodic invention which is one of the delights of Handel’s later music. But the music warms up with the plot and the coloratura takes off as the swords are drawn. These roles demand significant vocal flexibility and stamina and the cast produced some fine fireworks, and the Ensemble San Felice supported them well. There had to be a drawback to all this, and the latish (7.30pm) start obviously gave rise to anxiety about last trains home. Surreptitious glancing at watches became increasingly evident and a number of people left early, with regret. Serena Fenwick See recordings at http://www.newolde.com/handel_rodrigo.htm |
The music was the icing on this baroque cake. Rodrigo is the first opera that Handel composed during his stay in Italy, and it was first presented in Florence in 1707. Whilst it is a wonderful example of Handel’s early style, no full score has survived and the piece has inherent weaknesses connected with the libretto. Sensibly, Alan Curtis’ scholarly reconstructed performing edition had been chosen, but nevertheless the rather lengthy recitatives tend to outbalance the shortish arias.