Handel – Rodelinda / Metropolitan Opera 2011 (2)

(Previous section here.)

I was watching one of the little introductory sections that the Met includes in these DVDs (the host in this case was Deborah Voigt) and Voigt and the conductor, Harry Bicket, were discussing the history of the performance of Handel’s operas at the Met.

The idea seemed to be that until relatively recently, operas like Rodelinda were considered  too “intimate” for a big house like the Met’s. However – this was the drift of their conversation – things have changed, and there are singers who can bring the required dramatic force to the succession of recitatives and da capo arias that make up Handel’s operas.

Whether this is true or not is an open question, but the word that caught my attention in their conversation was “intimate.” It struck me as a weird word to use about Handel’s operas, and I had to stop and think why they were using it. When I think of music that could be categorized this way, what comes to mind are things like Lieder or violin sonatas. Pieces performed by a few people rather than a large group – things that might be performed in someone’s living room for an audience of four.

I think that what Voigt and Bicket were getting at, though, was that these are operas that turn on shifts in relations among a small group of people. In Rodelinda there is no deux ex machina and there are no big crowd scenes. Although the characters may bemoan their individual situations, Fate with a capital F is not what is driving this. And musically, you can perform this opera with a relatively small cast and a smallish orchestra. The opera can do what it needs to do at the Met, or it can do it in a much smaller house and with a set that doesn’t slide around and it can even do it without the horse. (This opera is in fact usually performed without a horse.)

Voigt and Bicket’s point was that you can have intimacy in that sense in a hall that holds something like 4000 people. And you can. But I’m not sure that “intimate” is the word I’d use to describe this particular production. As noted, the set is very pretty. (One minor gripe about the camera work on these DVDs of Met live HD broadcasts. You hardly ever see the orchestra or the conductor. It’s like they want you to forget it’s a theatrical production, and make it look like a movie. I want to see the orchestra now and then!) And the space is not set up to make the stage look bigger (e.g. as they did recently in Les Troyens). It’s carved into smaller, closely connected spaces, mostly rooms and a not-too-spacious courtyard. (With a stable. On the subject of the stable, and the unveiling of the disguised Bertarido in Act II. Bertarido is in the stable, musing to himself and Eduige hears him, and realizes that it is her brother. I understand why Bertarido is in the stable. He’s hiding out. But I can’t for the life of me figure out why Eduige is in the stable. Possibly this has something to do with the presence of the horse, but I am not nearly subtle enough to pin down the connection.) The whole vibe is definitely not intended to be massive or epic or sweeping. It’s supposed be literally domestic. So in that sense, I guess we’ve got intimacy.

But the thing about that term is that it implies that the characters are locked together dramatically as well as musically all the time, and you can feel the shifting tensions of the relationships alongside (or within) the shifts and movements in the music. (Oddly enough, in  Handel’s operas the characters’ vocal lines are not often overlapping: maybe this is – paradoxically – why they’re said to require “intimacy” in terms of hall size: you need the smaller space and/or intense acting to create the connectedness that the baroque opera style doesn’t beat you over the head with musically? Maybe, although I certainly never feel that Handel’s music lacks depth or fails to indicate relationships simply because there are so few ensembles. Eh, never mind.)

In this tight-interconnection-of-characters sense of intimacy, this performance of Rodelinda has its moments. A few of them, anyway.

(Next section here.)

8 thoughts on “Handel – Rodelinda / Metropolitan Opera 2011 (2)

  1. I have heard James Levine talk about doing (or not doing) baroque works at the Met. His basic line was house too big, orchrestra too big. Why this doesn’t apply to Mozart defies all logic to me. My read is that the Met isn’t very interested in the baroque for commercial reasons and any excuse will do.


    1. I would guess the commercial angle is the most likely. Orchestra too big? Hello! Give a few of those overworked string players a night off. (And leave the horse at home.)


      1. I don’t think money is the issue, cf Bicket’s recent remarks about differences of opinion between him and Levine re orchestra for Tito.


        1. I meant “commercial” in the sense that I think they are not confident of selling too many tickets for baroque works whereas Mozart, however “inauthentic” is an easy sell.


          1. I suspect their willingness to stage big baroque works also has to do with who they can pull in terms of star power – Renee Fleming’s presence will sell tickets to Rodelinda, whereas they might not stage the work, or revive it as often as they have this production, if they couldn’t get someone with the wide audience appeal that she has.


              1. Hell, see also Rinaldo with Marilyn Horne or Samson with Jon Vickers. I should have said “the primary issue” on the money thing. They’ve been willing to take hits to their box office before — I’ve seen Wozzeck played to half a house (and a 1999 Giulio Cesare that was jam-packed) — as long as there’s a Zeffirelli Boheme or Turandot (or both, in lengthy runs) on the schedule to make up for it.

                But I’d reeaallly love to hear an in-depth interview with Levine and Bicket about the pros and cons of adapting the Met orchestra to both Mozart and Handel. That NYT interview with Bicket back in November suggested that some really interesting conversations had taken place around the 2005 Tito revival. Maybe a tweet to Mr. Berger is in order.


                1. I just went back and read the article – would have loved to have been a fly on the wall during those discussions/rehearsals for the various performances of Clemenza di Tito.


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