Handel’s Rodelinda reveals an operatic master at the summit of his achievement.

Rodelinda is the third in a remarkable trio of dramas, (the others being Giulio Cesare and Tamerlano) produced in London between February 1724 and January 1725, which demonstrate Handel’s command of the medium, both as a showcase for exceptional singers and as a theatrical narrative inhabited by powerful characters with plausible emotions.

ENO was in the vanguard of the rediscovery of Handel’s operatic masterpieces in the 1970s and 1980s, and the company has staged bold, intriguing and provoking productions of the composer’s works from many of the world’s leading directors.

The story begins as Bertarido’s throne has been usurped by Grimoaldo. Following this Bertarido fled abroad, leaving behind his wife, Rodelinda, their son Flavio, and his sister Eduige. He has now returned in disguise, having circulated a false report of his own death. Meanwhile Grimoaldo, despite being betrothed to Eduige, seeks Rodelinda’s love.