Handel: Rinaldo [Glyndebourne 2011] [Sonia Prina/ Varduhi Abrahamyan/ Tim Mead/ Orchestra of the Age of Enlightenment/ Robert Carsen/ Ottavio Dantone] [Opus Arte: OABD7107D] [Blu-ray] (Region Free)

This production of Rinaldo makes me wonder if Robert Carsen was bullied as a child and is reliving his revenge fantasies. Not that this is necessarily a bad thing. I found it all very entertaining and for those of us who actually went to school in England it also provides some recognizable images (which may inspire nostalgia or horror depending on one's personal experience). For me, transposing the story to an English boarding school was an ingenious idea. For a modern audience (and probably for the original audiences too) the stories of Baroque opera are as irrelevant as they are historically inaccurate. They exist only as a framework to hang the stories of human interactions (usually love complications of one sort or another) in order to explore human emotions (and, of course, as a showcase for vocal display). Most of the plots are ridiculous if taken literally so I don't see any harm in reinterpreting them so long as the underlying and intended emotions still arise convincingly from the altered scenario. This new production succeeds in doing that. What schoolboy hasn't indulged in fantasies, a la 'Billy Liar,' about being a great warrior and rescuing a fair maiden in distress? Particularly if he is subjected to bullying and in need of a little escapism and some means, if only imaginary, of bettering his persecutors? By wrapping the old crusader story in this modern super-scenario, Carsen has made it more believable and added an extra dimension of pathos. Of course, none of this is strictly necessary. Telling the story straight and in a traditional setting would be just fine and I would have greatly enjoyed it, I'm sure. But Carsen has given us a new way to relate to this story and that is not a trivial thing. Its moments of great humor are not out of place and do not short change the deeper emotions. The end of the opera, when Rinaldo is stripped of his armor and finds himself back in his old school and his old predicament (presumably unchanged by his fantasy) adds ironic poignancy to the traditional, victorious ending.The singing and acting are all first rate. Sonia Prina is believable as a schoolboy and her rich contralto is very satisfying in the role. Brenda Rae as a "dominatrix" Armida is breathtaking and sounds as authoritative as she looks. She is also able to effectively demonstrate vulnerability when needed. Luca Pisaroni is brilliant as Argante. He's one of the finest operatic baritones today and has a great instinct for his roles and incredible stage presence. His acting steals the show in whatever scene he is in. Anett Fritsch has a wonderful, luminous voice though she is a little nondescript in the role of Almirena. She is, however, sufficiently waifish and vulnerable to credibly portray an adolescent schoolgirl. Tim Mead has a particularly marvelous countertenor voice and his Eustazio is very enjoyable to hear. Handel's music for this opera is a thing of wonder. One hit after another from beginning to end. There's not a single aria that doesn't grab one's attention, especially when played by one of the finest Baroque orchestras in the world along with singers of the caliber we have here. All round this is a great and highly entertaining production of Handel's first London opera which explores all the meaning and emotion inherent in the opera within a context that gives it an added relevance. Don't let the naysayers turn you off to this one. It has a lot of things in its favor and the purists only hurt themselves by refusing to accept such innovations.

Sprightly, splendid, magical, and charming! Musically and vocally as lovely as the Bartoli/Daniels/et al performance on CDs, but with the addition of a terrific full theatrical performance (Glyndbourne). Sonia Prina is a perfect Rinaldo (vocally, acting), Luca Pisaroni a smashing Argante (again, vocally and in acting), and Brenda Rae a brilliantly wicked Armida who is also touchingly vulnerable (after all, she does fall in love with Rinaldo, just as Argante falls in love with Rinaldo's lady love, the delightful and steadfast Almirena). And the rest of the cast is fully up to these standards. Ottavio Dantone and the Orchestra of the Age of Enlightenment are not only scintillating and swift, they also know when it is time to also be thoroughly grand. The conceit (the overall metaphor)of this production, of Rinaldo as a bullied schoolboy studying the Crusades, works great. (The male brutish teacher and the frightful, cruel female teacher return as Argante and Armida, and so on.) I own both the Bartoli/Daniels CDs and this DVD. If you possibly can, please get both (you wouldn't, for example, want to miss Almirena and Rinaldo--Bartoli and Daniels-- singing of their love and the little birds). On the other hand, if I had to choose just one, I'd go for this DVD. And by the way, for me a first-ever experience: the extras are not gaseous and self-important (as they usually are) but really informative and a great pleasure.

Nice singing, and a lot of it, but without Italian subtitles there is no way of knowing what they are talking about. After a couple of hours you start wondering whether this is worth staying up past your bedtime; it is not.Note also that one of these 'teenagers' seems to have a double chin and 'love-handles' around the waist: a superannuated high-school kid? Why not.

This was a rather novel setting for the opera in an English school. While the singing was very good, as well as the acting, the interpretation is weird. I prefer a more traditional production. It seems arrogant on the part of opera producers to reject tradition in favor of their own fads. If you look at the box cover, it appears traditional. But, you will not get tradition. You get a sorceress who is some type of sex freak with punk-mod girls as her assistance.Traditional opera setting as required by the composer provides us with real insight into the past and the composer's mind. A really good traditional production can complement our understanding of some of the great CD recordings.

A fine modern costume version of an early Handel opera.

I was aware before I purchased this production of Rinaldo that it had received ‘mixed’ reviews from critics. However, as with most things in life, it is always best to form your own opinion.I must say I found the production a hugely enjoyable and engaging way to spend three hours. I particularly enjoyed Tim Mead’s performance of this wonderful Handel opera. That said there were other excellent performances from other performers such as Anett Fritsch and Luca Pisaroni. The staging I thought was quite witty and funny with some memorable moments such as the football match. I wish history lessons on the ‘Crusades’ at school had been as much fun as this production is.

Dreadful production. Very disappointing for the price. Too modern for my liking - just a window for the Producer to display his so called skills. But then I only like traditional productions of anything; plays, ballets or operas. May suit the Modernist.

It seems to me, that Robert Carsen`s ``Rinaldo``ranks with the same success as his ``Hoffmann.`` A wonderful journey through time and history, detailed stage shaped, stage space differentiation, lighting dynamic, and all of this is in harmony with Handel`s music; witty and resourceful.A creative collective- costume designer, movement director, dramaturg all they work together and the result is brilliant opera evening.All the singers are top of their profession and the peak of their abilities when the recording takes place-an extremely enjoyable ensemble.The tv image and sound are the benchmark for the future, the work of the orchestra and the conductor is perfect!I thank the creators for this wonderful baroque evening!

This is my second-favourite Glyndebourne production (next to Cesare in Egitto), and I highly recommend it not only to fans of opera but also to fans of superb on-stage story telling in general. Transferring a rather confusing plot that mingles medieval history, sex and magic to a 1950s school setting was a wonderful idea. I also appreciated some of the overtly old-fashioned "special effects". A treat for your eyes and ears.

I am open to interpretations of operas and shifting the action to different eras. I particularly enjoyed the Glyndebourne production of Julius Caeser and was hoping for something similar. This production however was distracting and added nothing to my understanding of the piece. S & M schoolmistress in vinyl, St Trinians schoolgirls et all added nothing and seemed to be there just because the producer felt like throwing everything he could think of for cheap effect. Some great singing of some beautiful music but overall a disappointing purchase.