Having overcome many difficulties in producing one Handel opera, the possibility arose of continuing with a second. Flavio came into my mind partly because it shares a character in common with Rodelinda: Flavio, the young son of Rodelinda and Bertarido, is a grown man in Flavio, and rules as King of Lombardy. Three other considerations that confirmed my choice were: it is a fascinating opera, in which Handel combines tragedy and comedy with consummate skill; the primo uomo role – that of Guido – suited Jonathan Peter Kenny ideally (both Bertarido and Guido were composed originally for the great castrato Senesino); and it is rarely performed.
It was the first of three operas in which I enjoyed the collaboration of my colleague Jean Chothia (Fellow in English and American Literature at Selwyn College) as Stage Director. It was also the first opera in which Fiona McLauchlan played harpsichord continuo. Fiona had arrived at Selwyn as a fresher to read Music in October 1986. She probably thought that my suggestion that she take up the harpsichord was perfectly innocent. In fact I already knew enough about her outstanding musicality and intelligence to know that she would make an excellent continuo player – which indeed turned out to be the case. Fiona played harpsichord continuo for all the CHO operas from Flavio to Alcina. In addition she was the Company Manager for Berenice, Partenope, and Alcina.
Andrew Jones (Music Director)
