Rodelinda (opera)

Handel began composing Rodelinda in December 1724. At this point in London the premieres of his operas Julius Caesar and Tamerlane were very successful. Rodelinda was already finished in January 1725. At the premiere on December 13, the leading roles were played by the leading singers of the London opera stage: Francesca Cuzzoni (Rodelinda), Senesino (Bertarid), Andrea Pacini (Unulf) and Francesco Borozini (Grimoald). ^{[2] The} opera was a huge success, and the costume, which appeared on the stage of the leading role - a “vulgar and obscene” dress made of brown silk with silver trim - gave rise to a new fashion among young socialite ladies and became, according to the historian and writer Horace Walpole , "The generally accepted style of youth and beauty" ^[3] . In May 1725, Handel first published (by subscription) the full score of his opera ^[3] .

The first performance took place on February 13, 1725 at the Royal Theater in London . 14 submissions were given. During the life of Handel, “Roelinda” was excited twice more: in 1725 (December 18; 8 performances were given; 4 new arias and duets were added to the score) and in 1731 (8 performances; 4 numbers from other operas were performed). In 1734, Rodelinda was staged in Hamburg ^[4] . In the XX century, the first production (in German, in abbreviated and amended form) was performed at the University of Gottingen on June 26, 1920 by Oscar Hagen (with his wife Tira Leisner in the title party) ^[5] , initiating the Handel Festival in Göttingen and, in general, the “Handel Renaissance” " ^[6] . In 1931, the American premiere took place, in 1939 - the first production of modern times in London ( Old Wick Theater ).

Premieres in other countries: 1932 - Sweden , 1935 - Czechoslovakia , 1941 - Austria , 1943 - Hungary , 1960 - Switzerland , 1973 - Netherlands , 1983 - Italy , Denmark , 1985 - France , 1986 - Finland , 1999 - Ireland , 2005 - Canada , Spain , 2007 - Argentina , Poland . ^[four]

On December 13, 2015, the premiere took place in Russia on the New Stage of the Bolshoi Theater (co-production with the English National Opera ). ^[7]

The action takes place in the 7th century in Milan .

Action I

The chambers of Rodelinda. The Queen of the Lombards mourns her husband Bertarid , believing that he is dead ( aria “Ho perduto il caro sposo”). Grimoald, who seized the throne of Bertarid, offers Rodelinda a hand and a heart, but she refuses indignantly (aria “L'empio rigor del fato”). On the advice of Garibald, Grimoald terminates the engagement with Edwig (aria “Io già t'amai”). Edwig is offended and threatens to humiliate him in revenge (aria “Lo farò”) Garibald himself wants to marry Edwig, but, left alone, admits that he is only interested in her right to the throne (aria “Di Cupido impiego i vanni”).

The cemetery where the kings of the Lombards are buried. The cenotaph of Bertarida was also erected here. Bertarid appears, dressed like a Hun , in whose country he was hiding. Looking at his monument, he longs for Rodelinda (aria “Dove sei, amato bene”). Unulf arrives at Bertarid, who serves Grimoald, but in fact remains faithful to the rightful king. They have to hide from the eyes of Rodelinda and Flavius, who came to pay tribute to Bertarid (Rodelinda’s aria "Ombre, piante, urne funeste"). Unulf does not allow Bertarid to reveal himself to Rodelinda, although he longs to console his wife's grief. Garibald appears. He threatens to kill Flavius ​​if Rodelinda continues to refuse to marry Grimoald. She agrees, but threatens Garibald that when she ascends the throne again, he will lose his head (aria “Morrai, sì”). Grimoald enters. Satisfied with Rodelinda’s consent, he promises Garibald protection from the Queen’s wrath (aria “Se per te giungo a godere”). Bertarid is shocked that Rodelinda is ready to betray his memory. Unulf tries to console him (aria “Sono i colpi della sorte”) and find a way to help him, but Bertarid wants to wait until Rodelinda is married to Grimoald to avenge her infidelity (aria “Confusa si miri”).

Action II

The hall in the palace. Garibald persuades Edwig to marry him, because she does not have to be Grimoald’s wife - and so they can sit on the throne together. Edwig is outraged by both the betrayal of Grimoald and the consent of Rodelinda to become his wife. She is filled with hatred and thoughts of revenge (aria “De 'miei scherni per far vendette”). Rodelinda sets the condition for Grimoalde: for her to marry him, he must kill Flavius ​​before her eyes, because she cannot be both the wife of the usurper and the mother of the rightful king. She did not forgive the conspirators for the death of Bertarid (aria “Spietati, io vi giurai”). Unulf advises Grimoald to retreat, while Garibald suggests accepting the terms of Rodelinda, and then she herself will retreat. Grimoald does not listen to either one or the other - he is completely absorbed in his feeling for Rodelinda (aria “Prigioniera ho l'alma in pena”). Unulf is shocked at Garibald’s cruelty, and he bluntly expounds his motto: you can rule only with a whip (aria “Tirannia gli diede il regno”). Unulf realizes that Garibald is not interested in seeing Grimoald on the throne. In addition, he is relieved to understand that Rodelinda is actually faithful to her husband (aria “Fra tempeste funeste a quest'alma”).

In the bosom of nature Bertarid indulges in grief ( aria “Con rauco mormorio”). Edwig recognizes him. Upon learning that Bertarid only wants to reunite with his wife and son, and does not aspire to the throne, Edwiga promises to help him. Unulf dissuades Bertarid from betraying Rodelinda. Now they are ready to tell Rodelind that Bertarid is alive. Bertarid does not need anything except his wife for happiness (aria “Scacciata dal suo nido”).

Unulf comes to the chambers of Rodelinda and brings her the news of Bertaris. She languishes in anticipation of meeting her husband (aria “Ritorna oh caro e dolce mio tesoro”). Finally, the couple reunite. Bertarid apologizes to Rodelinda for doubting her loyalty. Grimoald discovers them. Not recognizing Bertarid, he is indignantly thinking that Rodelinda traded him for the first comer. To protect the honor of his wife, Bertarid reveals his incognito , but Rodelinda, fearing for his life, claims that this is a lie. Grimoald is ready to execute an opponent in any case, whether it be Rodelinda’s lover or her husband (aria “Tuo drudo è mio rivale”), but generously leaves them alone in the end. They say goodbye to each other ( duet "Io t'abbraccio").

Action III

Edwig and Unulf conspire to save Bertarid: Unulf guards him on behalf of Grimoald and has access to the camera, and Edwiga gives him the key to the secret passage that leads from the dungeon to the palace garden. Unulf is full of hope to save his master (aria “Un zeffiro spirò”). Edwiga is glad that she is finally doing the right thing (aria “Quanto più fiera tempesta freme”).

Grimoald does not dare to execute his captive. Garibald is trying to convince him that this must be done in order to save the throne, because Rodelinda and Edwig united against him. Grimoald continues to hesitate (the aria "Tra sospetti, affetti, e timori").

Bertarid complains about fate in prison (aria “Chi di voi fu più infedele”). Suddenly, a sword falls from somewhere at his feet: it means that he has an ally on the loose. Someone enters the camera. Thinking that this is the executioner , Bertarid strikes, but it turns out that he wounded Unulf, who had come to save him. But the wound is slight, and Bertarid and Unulf leave the prison through a secret passage, leaving in their cell clothes that can be recognized by Bertarida. Edwig, Rodelinda and Flavius ​​go to prison to save Bertarid, but when they see the clothes and fresh blood on her, they decide that he is killed. Rodelinda prays for her to be taken away, free from suffering (aria “Se'l mio duol non è si forte”).

Bertarid bandages Unulf, and he goes for Rodelinda and Flavius. Bertarid is determined to resist Grimoald (aria “Se fiera belva ha cinto”). Grimoald himself appears. He is tormented by conscience and oppresses the burden of government (aria "Pastorello d'un povero armento"). He is falling asleep. Garibald sees him defenseless and tries to kill him, but Bertarid defends the sleeping usurper and kills the traitor. Grimoald is amazed - and Rodelinda, who came, is amazed to see her husband alive. Bertarid is ready to die at the hands of Grimoald, who is superior morally (aria “Vivi tiranno! Io t'ho scampato”). Edwig and Unulf explain how Bertarid was released. In gratitude for saving his life, Grimoald abandons the seized throne, returns Bertarid his wife and son, and resumes the engagement with Edwig. Rodelinda is happy that she was reunited with her husband (aria “Mio caro bene!”). The final choir (“Dopo la notte oscura più lucido, più chiaro”), in which everyone except Garibald participates, glorifies the virtue that goes through all trials. ^[9]

2 recorders , transverse flute , 2 oboes , bassoon , 2 horns , 3 violins , viola , cello , double basses , continuo group ( harpsichord , theorba , cello). ^[ten]

The first time after Rodelinda returned to the party's listener, intended by Handel for castrates , it was customary to give low male voices ( baritone , bass ). From the middle of the 20th century, Bertarida and Unulfa began to perform mezzo-soprano . From the end of the 20th century, these parties are most often given to counterattors .

Audio Records

Video

• Libretto
• Notes
• List of entries