Showing @ The Brunton, Musselburgh, Sat 02 Nov only @ 19:30

For those used to the world of grand Italian opera, the works of George Frederick Handel have often been a difficult sell. The use of counter tenors and the often stilted scenes juxtaposed with torrents of emotion are, on occasion, as difficult for audiences to invest in as many a modern atonal work. Scottish Opera’s Rodelinda certainly contains some of these issues, but the performances manage to overwhelm any prejudices the audience might have.

Bertarido, King of Lombardy has lost his crown in battle and his wife Rodelinda – who believes him to be dead – is prisoner to his opponent Grimoaldo. This villain wants to make Rodelinda his own while Garibaldo (Grimoaldo’s trusted councillor) is in love with Grimoaldo’s sister Eduige.

Designer Oliver Townsend’s Baroque set creates a wonderful backdrop for intrigue twisted romance and dark dealings in Handel’s tale of usurpation and lust and whilst things could easily go over the top director Chris Rolls throw enough light into the shadows to prevent things toppling over into cheap melodrama.

Young Irish soprano Sarah Power in the title role captures both the strength and fragility of Rodelinda and her superb clear soprano rang out from the stage. Andrew Radley as Bertarido and Reno Troilus might well be many in audience’s introduction to the counter tenor voice, but they prove a fine one – both ringing full of emotion and power.

Another possible shock to the uninitiated is Richard Rowe as Grimoaldo. So used to hearing the tenor as romantic lead to hear it from the mouth of the villain – and such a dastardly one – could come as quite a shock. Rowe clearly relished the opportunity the opera gave him to dabble in the dark side.

The contrast between Andrew McTaggart’s baritone as Garibaldo and Sioned Gwen Davies’ mezzo as Eduige provided some of the best moments of the evening as well as adding to the plot and counter plots on offer.

Often Handel’s operas become soggy over-heavy fruitcakes far too rich for their audiences. Chris Rolls has got the recipe just about right here, especially for a production touring smaller venues. With only six in the cast, a flexible set and simple lighting, this is no over-produced confection, but neither is it a mere trifle.