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Rodelinda, Britten Theatre, Royal College of Music

Rodelinda, Britten Theatre, Royal College of Music

A stylish new production of a Handel classic deserves to enter the repertoire

by Monday, 14 March 2011
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Eduige (Rosie Aldridge) plots her most stylish revenge on GrimoaldoChris Christodoulou

A highlight of the London Handel Festival’s annual season is the opera, generally chosen from one of the dustier, more spidery corners of the composer’s repertoire. What a surprise then to see Rodelinda taking its turn this year. An undisputed classic, it’s also the opera that played perhaps the biggest part in reviving Handel’s fortunes on the stage in the 20th century. With aria after aria of generous and dramatic vocal writing and plenty of crowd-pleasing numbers, it’s also a natural showcase for the young singers of the Royal College of Music – perhaps the only ones having more fun than their audience last night.

A highlight of the London Handel Festival’s annual season is the opera, generally chosen from one of the dustier, more spidery corners of the composer’s repertoire. What a surprise then to see Rodelinda taking its turn this year. An undisputed classic, it’s also the opera that played perhaps the biggest part in reviving Handel’s fortunes on the stage in the 20th century. With aria after aria of generous and dramatic vocal writing and plenty of crowd-pleasing numbers, it’s also a natural showcase for the young singers of the Royal College of Music – perhaps the only ones having more fun than their audience last night.

Dennis has matured into her stage presence, delivering a performance of serious vocal class that set the curve for her colleagues

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Comments

Submitted by Brian Robins (not verified) on Thu, 17/03/2011 - 06:45
Oh dear! How terribly remiss for the libretto of an 18th century opera to lag behind in the 18th c. Whatever next? Well, perhaps electric guitars and drums to could be added to Handel's orchestration to make sure the music doesn't lag behind in the 18th c. too. And how about casting Lily Allen as Eduige. That should help with dragging the piece further still from the 18th c. Who is the Alexandra Coughlin who writes all this bullshit?

Submitted by Boris (not verified) on Mon, 21/03/2011 - 00:10
Brian - I don't think it was a criticism, merely an observation. Who are you anyway?

Submitted by Boris (not verified) on Mon, 21/03/2011 - 12:00
Someone appears to have edited my last comment by taking out my observation/opinion on Mr Robins because it contained a sphinctal reference of comparative restraint. Yet the final (and totally inaccurate) final sentence of Mr Robins' comment remains?? Go figure.

Submitted by Graziella (not verified) on Mon, 21/03/2011 - 12:14
Mr Robins is a very rude person, I won't say gentleman (and inaccurate, too - he can't even be bothered to spell the writer's surname correctly). And I'm surprised the insult remained. But yours is quite strong enough without the extra retort, don't you think? Always answer a boor with 'more in sadness than in anger', perhaps. And there are lots of boors ready to come out with their bile in the comments here. I agree, by the way, with the commentor who complained about the impenetrable 'captcha' words. I've found that when I only get it approximately right, it still works.

Submitted by james (not verified) on Mon, 21/03/2011 - 14:09
She was pointing out the difficulties of staging an eighteenth century opera. Was Brian Robins related to a male cast member?

Submitted by Lindo (not verified) on Mon, 21/03/2011 - 14:50
If I could point those as similarly irritated by Brian Robins' offering to his Wikipedia entry in which he is cheerfully dismissed as a failed performer who made his mark (if that is an appropriate way to put it) writing about Glee in the US. I don't think we should waste much more energy on the pompous little man.

Submitted by Andrew P Street (not verified) on Mon, 21/03/2011 - 18:53
I believe that Mr Robins is setting up what logicians call a "straw man" argument, seeing as though he takes Ms Coghlan to task for something she didn't imply, much less claim. It's a tactic similar to infants wetting their pants in crowded supermarkets when mum won't buy them lollies, and almost as dignified.

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