Last Updated on June 13, 2026
A compelling Baroque masterpiece brought to life at Garsington
5.0 out of 5.0 starsA tale of love, power, and unwavering devotion, Handel’s Rodelinda is one of the Baroque era’s most emotionally compelling operas. Set in a kingdom torn by political upheaval, the queen, Rodelinda, is forced to choose between survival and loyalty when her husband, the rightful king Bertarido, is presumed dead. As betrayal looms and identities are unmasked, Handel’s virtuosic score showcases a world where courage and constancy triumph over tyranny.
This season’s Rodelinda at Garsington Opera, a new production by director Ruth Knight, features a stark two-level set with a tree-lined three-section balcony and a manually operated split platform, allowing for the creation of a variety of scenes. The simple yet effective sets from Leslie Travers complement the use of fourteen dancers, all dressed in ninja-style black, sometimes masked, sometimes not, who portray courtiers, guards, and crowds.
Costumes are timeless – Rodelinda (Lucy Crowe) appears in various guises, including gold brocade trousers, a long blue medieval gown with white detailing, and in grey, wearing a scarf and her husband’s long puffa coat. Ed Lyon, the tyrannical usurper of the throne, wears an emerald green suit with various ‘Kingly’ additions, including a stunningly dramatic black and gold cloak, which is removed to reveal something that I can only describe as a ‘chest crinoline’. Hugh Cutting as Unulfo is James Dean meets Cupid. Bertarido (Tim Mead) appears in disguise from under the stage, in clouds of dry ice, wearing a gold basque, matching trousers, a gold wig and mask and fingernails to rival Edward Scissorhands. Visually, it’s a stunning production.
A vocally exceptional lineup made this a superlative show. Lucy Crowe, a renowned Handelian soprano, defines the perfect Rodelinda with virtuosic coloratura passages in “Spietati, io vi giurai” and a tender, tear-jerking “Ritorna, o caro,” with stunning dynamic range and controlled lyricism. It’s a role she recorded with the English Consort in 2021 and has performed on the international circuit. Still, she’s an astonishingly accomplished actress and was utterly captivating as the strong heroine of the work.
Tim Mead’s Bertarido was no less convincing. His “Dove sei, amato bene” rightly drew rapturous applause from the audience with sustained, beautiful dynamics and a plaintive tone. An excellent match for Crowe, the duet “Lo t’abbraccio” had a deep emotional resonance and musical intimacy. Mead’s countertenor is softly rich and mellifluous, characterised by a velvety sound with an excellent lower range and hauntingly ethereal upper notes.
Ed Lyon delivered a nuanced portrayal of Grimoaldo, charting the character’s transformation from a power-hungry usurper to a man unravelled by guilt and self-doubt. Initially blinded by ambition and obsessed with Rodelinda, Grimoaldo’s arc took a decisive turn when Bertarido, her husband, intervened to kill the treacherous Garibaldo, an act that saved Grimoaldo’s life. Confronted with such integrity, Grimoaldo ultimately relinquished the throne and accepted his defeat. Beautifully characterised, Lyon navigated the virtuosic passages of his role impeccably, producing a plaintive and expressive “Prigioniera ho l’alma in Pena”
By this point in the performance, it’s clear that Garibaldo is the true villain of the opera — a role Brandon Cedel inhabited with a commanding presence. His bass-baritone was nothing short of showstopping: powerful and dynamic, yet imbued with a striking lyrical finesse that brought unexpected nuance to the character.
Making a memorable Garsington debut, Hugh Cutting brought wit, charm and sincerity to the role of Unulfo, portraying the loyal confidant of Bertarido and Rodelinda with beguiling ease. His pure-toned English countertenor, steeped in elegant Baroque style, was matched by an assured dramatic presence. With talents like Cutting’s on display, opera has every chance of captivating a new generation of audiences.
Completing the cast, Eduige was played by Marvic Monreal, a beautifully rounded mezzo-soprano who played her role sensitively and with great emotion.
In the pit, the English Consort was directed by Peter Whelan, delivering a performance that was both energetic and emotionally refined, infusing Handel’s opera with fresh intensity, strong musicality, and a sensitive balance between the pit and the stage.
With sublime arias, poignant duets, and gripping drama, Rodelinda showcases Handel at his finest, blending musical brilliance with timeless human themes. This production at Garsington Opera brings fresh intensity and theatrical flair to a rarely staged masterpiece. There are still a few performances left – do catch it while you can.
Rodelinda runs from 13th June to 19 July 2025
Garsington Opera
Wormsley Estate,
Stokenchurch,
Buckinghamshire,
HP14 3YG
Also currently showing at Garsington – check our reviews of L’elisir d’amore and of Fidelio
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