Wadsworth production of Händel's Rodelinda opened at the Met on Tuesday, May 2, 2006. I was surprised that Thomas Lynch's set was so beautiful, since his Lohengrin was reminiscent of IKEA, though admittedly, his Ring set for Seattle was gorgeous. The library set was particularly impressive to the audience, which gasped when it was revealed in Act II. Act II also featured a horse, this device being a perennial favorite. The scenes changed flawlessly, the set moved both left and right and up and down. It was a bit much though, one did feel that things were always in motion, if not in the set itself, then in the choreography. The singers frenetically dashed around, seemingly without purpose. It was as if they believed the music was just so boring that it was necessary to fidget and fumble all over the stage as a method of distraction.
As for the singing, the lead, Renée Fleming, was somewhat flat, her voice is thin and she seems distant even though her volume is fine. Her voice has not a trace of sensuality, though I am not convinced that is necessary for Baroque music. Mezzo-Soprano Stephanie Blythe (Eduige) had more emotion in her voice, though she can be harsh. Tenor Kobie van Rensburg (Grimoaldo) also had passion, though his arpeggios and trills were weak and muddy. Bass John Relyea was a suitable villain as Garibaldo, the role does not show off how beautiful his voice is. Countertenor Christophe Dumaux (Unulfo) has an exceedingly girlish voice, light and slightly quiet. Andreas Scholl certainly was the star of the show, though his Bertarido was slightly stiff and awkward, vocally he was amazing. He has incredible power and control. His transitions between head voice and chest voice were perfect.