By: George Hall for the Guardian (UK)
Coliseum, London
In its original 1724 form, Handel’s opera dealt with complex political and amorous machinations among a seventh-century ruling Lombard elite. Richard Jones’s 2014 production moves the action to fascist Italy, where the sense of a lawless dictatorship and the constant threat of violence seem equally apposite.
Jeremy Herbert’s split-stage set means that on one side we see Rodelinda – widow of the supposedly dead king Bertarido – imprisoned with her son Flavio in a grungy dungeon, while on the other, the vile Grimoaldo and his even wickeder ally Garibaldo plot their next move in attempting to persuade Rodelinda to marry her consort’s usurper.
Related: ‘Tell me what traditional means’ – director Richard Jones on La Bohème
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Source: Opera News from the UK Guardian
Angela Bell is Opera Canada’s Digital Media Specialist. She has held digital and PR roles with various businesses including the Walt Disney Company, Sullivan Entertainment and Toronto International Film Festival.
