Name: Rodelinda, regina de' Longobardi, HWV 19
Start: 2017-03-24T00:00:00.000Z
End: 2017-04-05T00:00:00.000Z
Location: Teatro Real

Organization

Cantor

Soprano

Lucy Crowe

Rodelinda

Sabina Puértolas

Contratenor

Bejun Mehta

Bertarido

Xavier Sabata

Tenor

Jeremy Ovenden

Grimoaldo

Juan Sancho

Contralto

Sonia Prina

Eduige

Lidia Vinyes Curtis

Lawrence Zazzo

Unulfo

Christopher Ainslie

Baixo

Umberto Chiummo

Garibaldo

José Antonio López

Maestro

Ivor Bolton

Diretor de Palco

Claus Guth

Cenógrafo

Christian Schmidt

Estilista

Designer de Iluminação

Olaf Winter

Coreógrafo

Ramses Sigl

Dramaturgo

Konrad Kuhn

Teatro Real de Madrid

Rodelinda, regina de' Longobardi, HWV 19

Madrid

Espanha

Teatro Real

Contrary to what usually occurs when great literature is adapted for an opera libretto, Antonio Salvi improved the Pierre Corneille play on which Haendel based his Rodelinda The tyrant Grimoaldo, who has usurped the throne of Lombardy, wants to marry the wife of the deposed King Bertarido. Everyone believes the former king is dead, but he had actually fled into exile and has secretly returned. Between her husband Bertarido and the “Sheep in Wolf’s Clothing” Grimoaldo, who seems to be a cruel tyrant,  but is tormented by guilt for his crimes, is Rodelinda. She is at the centre of the story because all  the characters want to legitimise their power by marrying her. Yet she remains completely faithful to her husband, despite the visceral strife of the aspirants to the throne, who want to use her for their own ends. Rodelinda is the most intelligent character, she understands the weaknesses of the others and manipulate them as part of her own strategy.

At the turning point of the story, Grimoaldo decides to abandon his betrothed Eduige and force Rodelinda to marry him to legalize his seizing of the throne. Rodelinda refuses and continues to mourn her husband Bertarido, whom she believes to be dead. But, aware that her position is precarious and that she will not be able to put Grimoaldo’s demands off for long, she decides to avoid a definite refusal. Instead, she imposes a condition which she knows will be unacceptable to his weak nature and will drive the mild-mannered tyrant into an anxiety attack. She will only marry him if he first murders her son Flavio with his own hands because -  she tells him plainly - , she refuses to be both the wife of an usurper and the mother of the legitimate heir to the throne. She is a Clytemnestra who refuses to marry Aegisthus during Agamemnon’s absence, so that Flavio, if he should survive, would not become a new Orestes, or a Hamlet, who takes revenge on his mother for marrying his father’s killer. Rodelinda is a woman of excellent judgement, aware that her marriage to her husband’s usurper (and as far as she knows, murderer) cannot lead to anything good. She is also aware that Grimoaldo is a would-be tyrant who is scarcely able to conceal his true nature as a kind and reasonable provincial governor, pragmatic and charming.  He falls well short of the Machiavellian skills needed to fulfil his ambitions.

The truly wicked character in the story is not Grimoaldo, who was able to seize power largely through luck and despite his weaknesses, but Garibaldo, Duke of Turin, who has all the Machiavellian qualities the other lacks. He is scheming to win the throne for himself, and is quite prepared to massacre the entire family in cold blood if necessary. Only the news that Bertarido is not dead can put a stop to his plans.

The story deals with a power struggle set within a family, in a community which is its own world, but which is also a metaphor for human nature itself. This led Claus Guth to set Rodelinda in a family home, the private retreat from the outside world. The most vulnerable resident is Flavio, Rodelinda’s son, he is treated as a pawn and is subjected to countless dangers.

One could almost say the main character in the opera is, in fact, this child, who does not sing, but is made to suffer by the terrible cruelty of all the others. It often seems as if the story was being told through the nightmares of young Flavio, whose mother is ready to use him to keep a despised suitor at bay, and if not, to have him killed so he will never grow up to understand the treachery around him and seek revenge. Those terrified eyes see the family home as a threatening space full of dangers, he intuits this without really understanding.

Rodelinda is one of Händel’s most extraordinary operas and it includes some of the composer’s most inspired passages. Its debut in Spain, in this new Teatro Real production, is a remarkable event.

Claus Guth's exciting 2017 staging of Handel’s Rodelinda at Madrid’s Teatro Real, featuring Lucy Crowe and Bejun Mehta as Rodelinda and Bertarido, with conductor Ivor Bolton.

After the successes of Giulio Cesare in 1723 and Tamerlano in 1724, Rodelinda completes the trilogy of Handel’s great opera seria masterpieces. The work was composed in 1725 using Nicola Francesco Haym’s libretto, a work inspired by Antonio Salvi’s earlier libretto which had been itself adapted from Pierre Corneille’s tragedy Pertharite, roi des Lombards. Rodelinda thus brought one of the most glorious compositional periods in the Handel’s career to a close, about a decade after his arrival in the British capital. Mixing romantic storytelling and political intrigue, Handel produced one of his most beautiful scores, a true operatic tour de force.

Plot:

Lombardy, 7th century. Bertarido, the king, has fallen. His conqueror, Grimoaldo, claims the hand of Bertarido’s beloved Rodelinda. But Rodelinda rejects the usurper with contempt, particularly because he is already engaged to the late king’s sister, Eduige. Infuriated by Grimoaldo’s infidelity, Eduige allies herself with Garibaldo, to whom she promises her hand and the throne. While Eduige prepares her revenge against her former fiancé, Rodelinda escapes to the forest with her son to mourn her dead husband. Garibaldo interrupts her to announce that Grimoaldo plans to execute her son if she refuses to marry him. Desperate, Rodelinda gives in, promising to kill the messenger. But Bertarido is not dead and, hidden, witnesses the entire scene…

Rodelinda Händel

Approved

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Ator

Broadcasting

Chefdirigent Musiktheater

Chorus Director

Compositor

Coral

Dançarino

Designer de Som

Designer de Vídeo

Estilista de cabelo

Extra

Illustrator

Libretista

Maquiador

Mestre de Coro

Orchestra Operations

Orquestra

Other

Photographer

Poet

Produtor executivo

Repetidor

Stage Manager

Teacher

Tradutor

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baixo-barítono

Mezzo-soprano

Barítono

Alto

Silent

Spoken

Vocalista Infantil

Rodelinda llega por primera vez al Teatro Real en una nueva producción de uno de los mejores directores de escena del momento: Claus Guth, con dirección musi...

Rodelinda, by Georg Friedrich Händel | Teatro Real 200 years 16/17

Rodelinda arrives for the first time at the Royal Theater in a new production by one of the best stage directors of the moment: Claus Guth, with the musical direction of Ivor Bolton, one of the leading specialists in the interpretation of this repertoire. Of all the types of love that operatic librettos draw - the romantic, the forbidden, the family, the love of power, the love of country or even self-love - the one that is most scarce is precisely the most ritualized: love conjugal.

Rodelinda, heroines of Händel | Teatro Real 200 years 16/17

After the successes of Giulio Cesare in 1723 and Tamerlano in 1724, Rodelinda completes the trilogy of Handel’s great opera seria masterpieces. The work was composed in 1725 using Nicola Francesco Haym’s libretto, a work inspired by Antonio Salvi’s earlier libretto which had been itself adapted from Pierre Corneille’s tragedy Pertharite, roi des Lombards. Rodelinda thus brought one of the most glorious compositional periods in the Handel’s career to a close, about a decade after his arrival in the British capital. Mixing romantic storytelling and political intrigue, Handel produced one of his most beautiful scores, a true operatic tour de force.

English

Rodelinda, regina de' Longobardi, HWV 19 by Händel, sab 01 abr 2017, De (2017/2017), Dirigido por Claus Guth,, Regente Ivor Bolton, Teatro Real, Madrid, Espanha

Créditos do espetáculo (Elenco & Equipe )

Elenco

Equipe

Programa, Sobre & Sinopse

Vídeos

Fotos

Leitura adicional

Datas e locais de apresentação

Locais de Eventos