Rodelinda - Schedule, Program & Tickets
Rodelinda
Dramma per musica in three acts (1725)
Music by Georg Friedrich Händel
Libretto by Nicola Francesco Haym
Concert performance in Italian
The Lombard throne was usurped by Grimoaldo: he has forcibly expelled the rightful ruler Bertarido and considers him dead. Now Grimoaldo wants to marry his widow Rodelinda. But she remains faithful to the husband, believed dead. However, Bertarido is still alive and returns disguised to free his wife and young son. Grimoaldo's henchman Garibaldo, meanwhile, threatens Rodelinda's son and blackmails her to marry Grimoaldo. This scene observes Bertarido and believes his wife is unfaithful. However, it only faked the claim. As her faithfulness turns out, the couple falls into her arms. Grimoaldo surprises the two at this moment and lets the rival be jailed, but does not recognize his enemy in him. Bertarido is immediately released from his sister Eduige and rescues Grimoaldo from an assassination attempt Garibaldo. Finally, under the influence of Bertarido's human greatness and the love of the couple, the usurper is so purified that he returns the wife and land to the former enemy. In 1725, George Frederick Handel was at the zenith of his success as a composer of Italian operas in London, and he was instrumental in shaping the leading role in Rodelinda's world premiere of the most famous vocal stars of the time. The legendary fate of the loyal Lombard queen gave rise to the propagation of the greatest art in the musical design of emotions: jealousy, sadness, frenzied love, hatred, longing, fear and remorse - Handel composed a thrilling fireworks of rapidly changing emotions with the most direct handling of the baroque opera. Already during his lifetime Rodelinda was one of his most successful works, it was subversively quite up-to-date in matters of enlightenment, because in the exciting story of royal fidelity are already bourgeois ideals: Bertarido is a loving husband, caring father and does not hold in power, for that very reason the play proclaims him an ideal, benevolent king. He is assisted by a clever, strong woman who fights for her love. Not surprisingly, it was with this work in 1920 that the Renaissance Händel operas began.
Subject to change.
Music by Georg Friedrich Händel
Libretto by Nicola Francesco Haym
Concert performance in Italian
The Lombard throne was usurped by Grimoaldo: he has forcibly expelled the rightful ruler Bertarido and considers him dead. Now Grimoaldo wants to marry his widow Rodelinda. But she remains faithful to the husband, believed dead. However, Bertarido is still alive and returns disguised to free his wife and young son. Grimoaldo's henchman Garibaldo, meanwhile, threatens Rodelinda's son and blackmails her to marry Grimoaldo. This scene observes Bertarido and believes his wife is unfaithful. However, it only faked the claim. As her faithfulness turns out, the couple falls into her arms. Grimoaldo surprises the two at this moment and lets the rival be jailed, but does not recognize his enemy in him. Bertarido is immediately released from his sister Eduige and rescues Grimoaldo from an assassination attempt Garibaldo. Finally, under the influence of Bertarido's human greatness and the love of the couple, the usurper is so purified that he returns the wife and land to the former enemy. In 1725, George Frederick Handel was at the zenith of his success as a composer of Italian operas in London, and he was instrumental in shaping the leading role in Rodelinda's world premiere of the most famous vocal stars of the time. The legendary fate of the loyal Lombard queen gave rise to the propagation of the greatest art in the musical design of emotions: jealousy, sadness, frenzied love, hatred, longing, fear and remorse - Handel composed a thrilling fireworks of rapidly changing emotions with the most direct handling of the baroque opera. Already during his lifetime Rodelinda was one of his most successful works, it was subversively quite up-to-date in matters of enlightenment, because in the exciting story of royal fidelity are already bourgeois ideals: Bertarido is a loving husband, caring father and does not hold in power, for that very reason the play proclaims him an ideal, benevolent king. He is assisted by a clever, strong woman who fights for her love. Not surprisingly, it was with this work in 1920 that the Renaissance Händel operas began.
Subject to change.
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