"Flavius Bertaridus. König der Longobarden" [King of the Lombards] is Telemann’s sole surviving Opera seria. It was premiered at the Theater am Gänsemarkt, Hamburg, on 29 November 1729. The libretto by Christoph Gottlieb Wend and Georg Philipp Telemann is based on the Venetian opera "Flavio Bertarido, Ré de Longobardi" by Stefano Ghisi, which was premiered with music by Carlo Francesco Pollaroli in 1706.

The plot is based on events from north Italian history from the years 661 to 671. Through his faithful follower Onulfus, the deposed Bertaridus asks the usurper Grimoaldus to be allowed to return to court. His sister Flavia intercedes on his behalf. He does not know that Rodelinda and Cunibert are disguised as shepherds and are staying in the vicinity under false names. For their part, Rodelinda and also Flavia do not know where Bertaridus is. The disguised Bertaridus strikes his sleeping sister and, despite thoughts of revenge, does not kill her. He leaves his sword, as a result of which Rodelinda discovers that he is nearby. Flavia, who in the meantime has been awoken, invites Rodelinda and Cunibert – without knowing who they are – to the court. Bertaridus meets, still in the forest, mother and child; they recognise each other. Grimoaldus falls in love with the woman whom he does not know, but she remains true and wants to entice him into an ambush. In the darkness, Rodelinda touches each person who approaches her, even the jealous Bertaridus lying in wait for her and Orontes who is waiting for Flavia. For Orontes loves Flavia. Grimoaldus captures Rodelinda, and Bertaridus frees her. Grimoaldus dies on a hunt. But Flavia believes that he has fallen victim to an attack by Orontes. Disappointed by this reaction, he leads her to believe that her child Regimbert has been murdered, which leaves Flavia almost in despair. But he reflects on things and brings the child back to its mother. Bertaridus and his family learn through the Lombardic guardian spirit that Grimoaldus lives no more. Bertaridus is appointed to his old rights; with the consent of her brother, Flavia now yields to Orontes’ courting.

The libretto, effective on the stage, in which the strands of the plot are closely interwoven with each other, is well proportioned, extremely skilful and excitingly structured. With fine nuancing, the protagonists are treated almost equally. Irrational passions such as lust for revenge, jealousy, rage and delight, but also despair, are juxtaposed with virtues such as fidelity and sense of family or are transformed into rational emotions. For the highly emotive drama, Telemann found a musical language modelled on the Italian style, extremely expressive and displaying a great variety of forms.

Ute Poetzsch-Seban
(Translation: Elizabeth Robinson)