Rodelinda came at the highest point of Handel's career, when he was exceptionally financially successful, incredibly popular, and beloved by his public and by the court and nobility of England. His productions at the King's Theatre in London were well subsidized by the crown. He was able to hire the finest singers in Europe, to have the best stage scenery built, and to have the finest costumes and machinery. He even had a good librettist. Three masterworks were composed by Handel at this time. Roughly between the years 1723 and 1725, Handel composed Giulio Cesare, Tamerlano, and Rodelinda. Giulio Cesare and Tamerlano are particularly virile works with heroic, strong, male characters. Rodelinda's hero is a woman, and the plot almost develops into a rescue opera in the manner of Fidelio. The story shows the heroine torn between her emotions as a wife and woman, and her duties as Queen. Handel's female audience was especially appreciative, and the work was a singular success.

Certain characteristic opera seria themes pervade the libretto. Dramas of political power, torn affections, and moral dilemmas come alive due to Handel's superb characterizations and sensitive planning. The first act is filled with a variety of types of allegro arias, in which the action of the opera is framed. These vigorous numbers set in relief the arias of the two lovers, Rodelinda and Bertarido, who poignantly long for one another in "Dove sei?" and "Ombre, piante." "Ombre, piante" is particularly lovely; a solo violin joins the passionately lamenting Rodelinda as she mourns her lost husband. Again, in Act Two, the music of the other characters sets the stage for the two lovers' arias, who are again poignant in their isolation and separateness. After an intervening aria by the ruling tyrant, the two are finally joined in a sublime duet. The third act is a brilliant dramatic coup. Often in Baroque opera, changes of scene involve a dramatic change in venue. In the earlier Baroque, this often included a change from an earthly realm to the infernal realm, with an intermediate stop in the celestial regions. As opera seria attempted to bring opera closer to French tragédie, comedy and spectacle were omitted, so a spectacular descent into the underworld was no longer a viable option. However, Handel was permitted a similar dramatic change from the earthly to the infernal, as the cast goes to seek out the imprisoned Bertarido in the depths of the dungeons of Grimoaldo, the wicked tyrant.

The strength of Rodelinda lies in the depth of emotion that each character feels and the realistic appraisal one is able to make of their characters. The variety of human emotion is matched only by the inventiveness of Handel's music, which carries the listener through this highly dramatic work.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.