Jean-Marie Villégier's Glyndebourne production of Handel's Rodelinda divided opinion when it was new in 1998. Some were disturbed by Villégier's relocation of the work to the chilly art-deco world of early fascist Italy, though the transposition underscores the opera's main point: that moral integrity is impossible in a society in which power is everything.
Although the score urges compassion, none of the characters are above suspicion. The hero Bertarido, who has lost his throne to the usurper Grimoaldo, goes into exile and issues a false report of his own death. He then returns, disguised, to spy on his "widow" Rodelinda to test her fidelity. In the most important scene in the work, meanwhile, Rodelinda bids Grimoaldo to reveal his infamy to the entire world by killing her son in public. Being a coward, he can't do it - but for one brief moment, Rodelinda, in gambling with the life of her child, has equalled him in monstrosity.
The production has, by and large, retained its unnerving force, though a couple of performances in this latest revival don't quite do the characters justice. Timothy Robinson's Grimoaldo suggests vapid irresponsibility rather than menace. Jean Rigby, similarly, is a fraction too camp as Bertarido's scheming sister Eduige. Her singing, however, is fantastic, all fiery coloratura and cavernous low notes.
Elsewhere, there are real wonders. Emmanuelle Haïm's conducting is inspired and flawless. Emma Bell sings Rodelinda with gorgeous tone and spectacular vocal control over the role's well-nigh impossible range. And as Bertarido we have not a counter-tenor, as Glyndebourne has previously cast, but mezzo Marijana Mijanovic. A perfect androgyne with a voice at once opulent and genderless, she is ideal in the part, and her big duet with Bell at the close of the second act is, quite simply, one of the most beautiful things you will ever hear.
· In rep until July 31. Box office: 01273 813813.
