Handel: Rodelinda

Rodelinda may be standard-issue opera seria--da capo (ABA-form) arias linked by a plain recitative dramatizing a convoluted plot--but it's among the most compelling works of its kind. Nicholas Kraemer's performance doesn't have all the energy or vocal opulence one might want, but it's certainly the most prettily-sung and stylish Rodelinda available. In the title role, Sophie Daneman's every note is beautiful; her light soprano can't convey fury, but her laments and love songs are exquisite. Both castrato roles are taken by falsettists: Robin Blaze does well as faithful friend Unulfo; Daniel Taylor sings the male lead--deposed king Bertarido--sensitively, but one misses (especially in the bravura aria "Vivi tiranno") the vocal substance a female mezzo using chest voice would provide. Tenor Adrian Thompson, as villain-with-a-conscience Grimoaldo, occasionally struggles with fast passages but makes the most of an emotionally complex role; mezzo Catherine Robbin and bass Chrstopher Purves sing and act their parts with ease and assurance. --Matthew Westphal