What was favourite thing about the performance?
The staging – I thought it was very cleverly designed.
And least favourite?
The length – I feel like it could have been condensed into the two acts.
Did you think updating to Fascist Italy worked (rather than 18th C)?
As I haven’t seen this opera before, I think it did work, but I don’t think it was necessary. I would have enjoyed it just as much if it had been set in 18th C.
Did you think humour worked?
Yes, it kept the audience engaged and alert, but I did feel a bit sorry for Rodelinda, sung by Welsh soprano Rebecca Evans, who had to literally go through every single emotion and then intersperses her performance with the whole range of humour from the witty to the ridiculous.
Rebecca Evans
Rebecca Evans, Tim Mead and Juan Sancho
What singer most impressed you and why?
I was blown away by the voice of Bertarido (counter tenor Tim Mead) – as someone who doesn’t watch much opera it really took me by surprise.
Were there any elements of the production that were confusing or didn’t help your understanding of the narrative?
The only thing was the injured guy at the end who kept hanging around in the background, didn’t really get it.
Would it make you want to go to another Handel opera and why or why not?
Yes, the music was beautiful!
Alice Carter is a New Voices reviewer supported by Wales Critics Fund
http://www.asiw.co.uk/reviews/rodelinda-english-national-opera
http://www.asiw.co.uk/reviews/welsh-stars-rodelinda-handel-aida-verdi-eno-london-coliseum