Context and analysis Rodelinda (opera)

the king s theatre, london, rodelinda had first performance

the german-born handel, after spending of career composing operas , other pieces in italy, settled in london, in 1711 had brought italian opera first time opera rinaldo. tremendous success, rinaldo created craze in london italian opera seria, form focused overwhelmingly on solo arias star virtuoso singers. in 1719, handel appointed music director of organisation called royal academy of music (unconnected present-day london conservatoire), company under royal charter produce italian operas in london. handel not compose operas company hire star singers, supervise orchestra , musicians, , adapt operas italy london performance.

within year, 1724-1725, handel wrote 3 great operas in succession royal academy of music, each senesino , francesca cuzzoni stars, other 2 being giulio cesare , tamerlano.

horace walpole wrote of cuzzoni in rodelinda:

she short , squat, doughy cross face, fine complexion; not actress; dressed ill; , silly , fantastical. , yet on appearing in opera, in brown silk gown trimmed silver, vulgarity , indecorum of old ladies scandalised, young adopted fashion, universally, seemed national uniform youth , beauty.

to 18th century musicologist charles burney rodelinda contains such number of capital , pleasing airs, entitles 1 of first places among handel’s dramatic productions . burney notes particularly aria bertarido in act one, dove sei, amato bene , calling it

one of finest pathetic airs can found in works... air rendered affecting new , curious modulation, general cast of melody.

the opera scored 2 recorders, flute, 2 oboes, bassoon, 2 horns, strings , continuo (cello, lute, harpsichord).