Last night, the Metropolitan Opera staged one of the most anticipated events of the season: the company’s first-ever performance of “Rodelinda,” the opera by Handel. On hand were some of the finest singers before the public today, including the soprano Renee Fleming in the title role. Joining her were the mezzo-soprano Stephanie Blythe, the countertenor David Daniels, and the bass-baritone John Relyea, among others. Leading in the pit was Harry Bicket, the British early-music specialist. All in all, this was an excellent debut for Handel, some 280 years after the composition of his piece.

“Rodelinda” is stocked with arias – it is a Handel opera, after all – and the most famous of them is “Dove sei, amato bene,” known in English as, “Art thou troubled? Music will calm thee.” The plot involves royal intrigue, uncertain loyalties, crossed love, and other traditional operatic stuff.

Although last night’s performance was very much a group effort, the night can be said to have belonged to Miss Fleming, who simply put on a clinic of singing. She has been on a Handel jag lately, as evidenced by her new album of Handel arias, with this very same Harry Bicket, and the Orchestra of the Age of Enlightenment. (The recording is from Decca.) The one aria from “Rodelinda” on it is “Ritorna, o caro e dolce mio tesoro,” which at the Met Miss Fleming sang deliciously: It was full of longing, delight, relief – everything it should express.

Miss Fleming sang this role freely, as is her wont; for example, she does not skimp on portamento. But she is a genuine Handelian, emotional but respectful. She is known for beauty of voice – as she should be – but she displayed all her technical gifts, which include a huge range and phenomenal breath control. Her passagework is smooth, and her ornamentation nicely judged, and executed. Velvet may be her specialty, but she can work up some bite, too.

Dramatically, this was a Rodelinda to inspire: imperious, furious, faithful, daring, womanly. The part could hardly ask for more.

Stephanie Blythe is no mean Handelian herself, as she has proven many times, including in the Met’s “Julius Caesar.” Last night, in the role of Eduige, she was regal, formidable, and altogether capable. She always manages to remind you somewhat of Marilyn Horne, which is not a terrible association. And, in a cast that included some smallish voices, she had no trouble filling the house, in the most casual recitative.

In the part of Bertarido was David Daniels, yet another Handel standout. In fact, his “Julius Caesar” duet with Miss Blythe – “Son nato a lagrimar” – was one of the most transfixing moments I myself have ever experienced in an opera house. Or in music. In “Rodelinda,” it is Bertarido who has “Dove sei,” and Mr. Daniels handled it ably. It was a little intimate for so vast a venue, but it worked.

There was a second countertenor in the cast, Bejun Mehta (who, yes, is related to Zubin, and to the New York Philharmonic’s executive director, Zarin). His instrument is both bright and rounded, which one might expect to be a contradiction. And he appears to have ample self-confidence, which does a singer no harm.

An actual tenor – not counter – was Kobie van Rensburg, a South African making his Met debut. That instrument is light but virile, with a quiver to it. He had some trouble making himself heard in the lower register, but otherwise contributed admirably. And John Relyea continues to please in everything he touches. Such a smart musician, in addition to being vocally endowed.

Mr. Bicket obviously knows his business, yet some of us wince to hear the Metropolitan Opera Orchestra turned into a “period” band. Oh, well. And for a period man, Mr. Bicket might have been stricter with tempo. At the same time, he might have allowed for greater dynamic variation, and more panache in some phrasing. Finally, he committed the error of covering certain singers, in particular Mr. Daniels.

The stage director Stephen Wadsworth made theater out of the piece, and Thomas Lynch’s sets were both interesting and apt. Act II’s palace library was ah-making – and it might have belonged to one of our Midtown clubs. (Granted, Mr. Lynch’s library was a little bigger.)

And I cannot neglect Zachary Vail Elkind, the boy who played Flavio, Rodelinda and Bertarido’s son. What he had to endure (mute) – and he did it so stoically!

As for Renee Fleming, her superstardom annoys some people. Let it. If she sings this well, she deserves superstardom, and immortality.

“Rodelinda” will be performed again December 6, 15, 22 & 27 and January 6 at 7:30 p.m.; December 11 & 18 at 8 p.m.; and January 1 at 1 p.m (Lincoln Center, 212-362-6000).