Handel’s Rodelinda revival at Oper Frankfurt: a modern lens on a Baroque drama

GermanyGermany Handel, Rodelinda: Soloists, Orchestra of the Frankfurt Opera / Simone Di Felice (conductor). Frankfurt Opera, 19.1.2025. (ES-S)

Irene Madrid (Flavio, under the table), Josh Lovell (Grimoaldo), and Zanda Švēde (Eduige) © Barbara Aumüller

Premiered in Madrid in 2017 and crisscrossing Europe from Lyon to Amsterdam and Barcelona to Frankfurt, Claus Guth’s acclaimed staging of Handel’s Rodelinda returned to the Frankfurt Opera this January, proving it has lost none of its luster over the years.

Often grouped with Giulio Cesare and Tamerlano as part of Handel’s operatic golden trio, Rodelinda, regina de’ Longobardi stands out not only for its musical richness but also as one of the composer’s most dramatically compelling and emotionally charged works.

The intricate character dynamics and the exploration of themes such as loyalty and the corruption of power, crafted by Handel and his librettist, Nicola Francesco Haym, are truly remarkable, depicting a complex realm of human emotions. Rodelinda embodies steadfastness and moral integrity, remaining unwaveringly loyal to her presumed-dead husband, Bertarido, even under immense pressure from Grimoaldo, the usurper. Bertarido, in turn, is defined by his vulnerability and deep emotional connection to his family, traits that make his internal struggles especially poignant. His loyal ally, Unulfo, a figure reminiscent of Eumaeus from The Odyssey, represents unwavering fidelity and quiet resourcefulness, standing as a pillar of support amid chaos. On the other end of the spectrum, Garibaldo remains a static embodiment of manipulation and ambition, unwavering in his ruthless pursuit of power. However, two other key characters undergo moral transformations: Grimoaldo, torn between his political ambitions and genuine feelings for Rodelinda, ultimately redeems himself, as does the morally ambiguous Eduige, Bertarido’s conflicted sister.

Guth’s mise-en-scène brilliantly reinterprets the opera’s complex plot by presenting it through the eyes of Flavio, the silent son of Rodelinda and Bertarido. As a deeply troubled boy, Flavio becomes a mute witness to the treachery and power struggles that surround him. The opera’s intricate actions are filtered through his perspective, with his fears and anxieties vividly externalized in nightmarish visions: silent characters with grotesquely deformed heads – reminiscent of Jean Dubuffet’s portraits – dance across the stage, while video projections of the child’s drawings intermittently appear, offering further insight into his disturbed inner world. Flavio’s near-constant presence – compulsively drawing or gesticulating – at times feels excessive or even distracting, yet Guth’s approach intensifies the emotional stakes, reframing the opera as a poignant exploration of how violence and ambition shape a vulnerable child’s psyche.

As is almost customary in contemporary stagings of historical narratives – though weaving timeless themes like marital fidelity, resilience or political intrigue – Christian Schmidt, a frequent collaborator of Guth, worked with the director to transpose the story from seventh-century Lombardy to an ambiguous modern context. The action unfolds in a two-story villa with a white Georgian façade that rotates, revealing an interior with superimposed early twentieth-century-style rooms, terraces, and a grand yet unadorned staircase. The modernized costumes are also deliberately evasive in defining a specific time or place, though they evoke hints of La Belle Époque. However, some details remain puzzling: why is the ruffian Garibaldo sporting a Wotan-esque eyepatch, and why is Bertarido clad in a shabby-looking raincoat?

Lawrence Zazzo (Bertarido), Rafał Tomkiewicz (Unulfo), and Elena Villalón (Rodelinda) © Barbara Aumüller

The singing was consistently engaging. Elena Villalón, a Cuban-American soprano and current member of the Oper Frankfurt ensemble, delivered a captivating yet measured portrayal of the title role. A former winner of the Metropolitan Opera National Council Auditions, she balanced vocal precision and emotional depth, ensuring her technical assuredness properly served the drama.

From the tender mourning of ‘Ho perduto il caro sposo’ to the fiery defiance of ‘Morrai, sì’, Villalón brought Rodelinda’s vulnerability and determined strength to life. Her silken legato in ‘Ombre, piante, urne funeste’ and dynamic control in ‘Ritorna, o caro e dolce mio tesoro’ showcased her vocal versatility and emotional nuance. In ‘Io t’abbraccio’, the poignant second-act duet where Rodelinda and Bertarido, believing they are about to be separated forever, express their love and despair in intertwining vocal lines, Villalón’s partnership with Lawrence Zazzo’s Bertarido created a deeply affecting moment.

Zazzo brought depth and nuance to the role of the returning king. A veteran of this opera, having previously performed the role of Unulfo, the countertenor’s familiarity with Handel’s character dynamics was evident in portrayal of Bertarido, which combined refined vocal technique with heartfelt expressivity. Delivered with a warm, pliant tone and exquisite phrasing, his ‘Dove sei, amato bene?’ revealed the character’s aching vulnerability. In contrast, the fiery ‘Vivi, tiranno’ showcased Zazzo’s technical brilliance as he navigated the demanding coloratura with precision and bold ornamentation. His voice showed signs of wear towards the opera’s finale, but Zazzo soldiered on with determination, drawing on his vast experience as a seasoned Handel interpreter to overcome any setbacks.

The evening’s other countertenor, Rafał Tomkiewicz, making his Oper Frankfurt debut, proved a pleasant surprise as Unulfo. His rendition of ‘Fra tempeste funeste’, with its virtuosic coloratura and lively rhythms, showcased both his warm, even tone and his technical precision and expressive phrasing.

Canadian tenor Josh Lovell convincingly portrayed Grimoaldo’s duality, torn between his ruthless quest for power and his yearning for simple love. His lyrical voice was particularly well-suited to the reflective ‘Pastorello d’un povero armento’, while his effective stage presence added depth to the character.

Zanda Švéde’s portrayal of Eduige was competent, capturing the character’s shifting allegiances and inner turmoil with precision, though her performance lacked the spark needed to elevate the role beyond its functional place in the drama. Similarly, Božidar Smiljanić’s Garibaldo, delivered with the necessary menace and authority, remained a straightforward embodiment of ambition without adding much nuance – neither vocally nor dramatically – to the character.

Simone Di Felice led the pit ensemble in a finely balanced and thoughtfully paced reading of Handel’s score, bringing out its inherent richness. His sensitivity to Baroque phrasing and dynamics ensured that the orchestra functioned not merely as an accompanist but as an active participant in the drama. The continuo section, with its vibrant contributions, added color and energy to the recitatives. Maintaining dynamic energy throughout, Di Felice gave the singers ample space to shine, while ensuring the orchestra seamlessly supported the narrative’s emotional ebb and flow.

Edward Sava-Segal

Production:
Director – Claus Guth
Revival director – Axel Weidauer
Sets & Costumes – Christian Schmidt
Lighting – Joachim Klein
Video – Andi A. Müller
Choreography – Ramses Sigl. Patricia Roldán
Dramaturgy – Konrad Kuhn

Cast:
Rodelinda – Elena Villalón
Bertarido – Lawrence Zazzo
Grimoaldo – Josh Lovell
Eduige – Zanda Švéde
Unulfo – Rafał Tomkiewicz
Garibaldo – Božidar Smiljanić
Flavio – Irene Madrid

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