Rinaldo, at the Royal Academy of Music, is an enjoyable evening of opera suitable for those interested in early exposure to the form, as well as an already familiar audience.
The music, by Handel, is typically harmonic, with some of his most famous arias to be found here. During the composer’s lifetime, Rinaldo was a huge success and became his most frequently performed opera.
Rinaldo is sung in Italian with a screen showing the words in English above the stage. The librettist is Giacomo Rossi. He explores by means of an easy-to-follow narrative themes as relevant today as when the work premiered in London in 1711. These cover the deepening of attraction, combining with kindness into love and constancy in one pair of lovers. This is in contrast to the deceit, infidelity, manipulation and fury described in the other. There are heroes and villains in this opera; only those with virtuous hearts arrive at contentment.
Director Julia Burbach handles the material with a light touch and pace that never flags. In the second part of the performance, the battle scenes are imaginatively portrayed as a series of tableaus connected by almost farcical movement at speed. Choreographer. Cameron McMillan has used his abilities throughout to communicate by way of movement, not only physical interaction but also emotional states such as isolation, distance and entrapment. His use of repetition is well done.
Abigail Sinclair, the soprano who played the role of Almirena on the first night, was affecting and most effective in her physical portrayal. Her contrasting female character was portrayed with charismatic dramatic effect by Grace Hope-Gill, another soprano. There was always energy when she was on stage.
It took a few minutes to grasp mezzo-soprano Ella Orehek-Coddington’s huge talent. She is phenomenal and becomes utterly persuasive in the title role.
Theodore McAlindon is a suitably whimsical cupid. That he is also a bass singer provides a playful juxtaposition.
Set design by Bettina John is clever. The set is a white box with sides that move and levels that drop. Lighting designer Robert Price provides contrasts and some magical moments, as well as creating the conditions for important shadow play.
The splendid Royal Academy Sinfonia has twenty-five musicians in the orchestra pit, led by conductor David Bates. The music is wonderful throughout.
A most enjoyable evening.
Review by Marian Kennedy
Amid a holy war, crusader Rinaldo must overcome sorcery, deception and his own inner struggle to save the woman he loves.
First performed in London in 1711, Rinaldo marked the beginning of Handel’s prolific career in England and features some of the composer’s most famous arias.
David Bates conductor
Julia Burbach director
Bettina John designer
Robert Price lighting designer
Cameron McMillan movement director
RINALDO
Susie Sainsbury Theatre, Royal Academy of Music
17 to 20 March 2026
