This is an interesting pre-authentic performance of Handel’s odd masterpiece, an opera that has not done well on CD. Years ago, a severely cut, peculiarly cast Sutherland/Bonynge set appeared on London (Decca); this current performance, which has been around for a long time (and is available on other labels as well), dates from 1959. The orchestra is reduced, harpsichord is prominent, embellishments are added to the vocal line, and in general, aside from a slight heaviness in approach, there is little to be ashamed of. Some arias are cut or cut in half, but the spirit of Handel is present–and besides that, fans of either Sutherland or Janet Baker, both caught here so early in their careers that they were not even vaguely famous, will have to hear them. And they impress: Baker sounds far lighter than she later did but exhibits the same wonderful musicality and impeccable diction, and Sutherland’s fresh voice, flawless technique, and yes, fine enunciation of the text (she only began to mumble seriously in about 1962) are delightful. During the final, brief chorus, she riffs madly over the rest, sort of like a filly just let out of the paddock.
Elsewhere in the cast, the late Margaret Elkins, in the trouser role of Sutherland’s husband, proves herself just as worthy, with a beautiful trill to boot. Tenor Alfred Hallett (since unheard of) makes a good villain (who later redeems himself), with an agile voice and a slightly too muscular approach to high notes and delivery. Although his role is slashed to bits, Raymond Herincx is exciting as the real villain, and Patricia Kern is good in a smaller role. Charles Farncombe, as suggested, leads a good show with a somewhat un-impressive band. This is the only Rodelinda around, and it isn’t half bad.
