Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

L’italiana in Algeri, Garsington Opera

George Souglides’ set for Will Tuckett’s new production of Rossini’s L’italiana in Algeri at Garsington would surely have delighted Liberace.

Carmen in San Francisco

Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.

Eugene Onegin, Garsington Opera

Distinguished theatre director Michael Boyd’s first operatic outing was his brilliant re-invention of Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse in 2015, so what he did next was always going to rouse interest.

Bohuslav Martinů’s Ariane and Alexandre bis

Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.

Lohengrin, Dresden

The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of Lohengrin. For once in Germany it was not about the staging.

Die Meistersinger von Nürnberg, Glyndebourne

Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

OPERA TODAY ARCHIVES »

Performances

Danielle de Niese as Poppea
19 Aug 2008

Prom 18 — L’Incoronazione di Poppea

Glyndebourne Festival Opera’s annual appearance at the Proms is always an eagerly-awaited event, but there is a varying degree of success with which the productions adapt from a full staging at Glyndebourne to a semi-staging suitable for the small platform and cavernous space of the Royal Albert Hall.

Prom 18 – L’Incoronazione di Poppea
Glyndebourne Festival

Danielle de Niese (Poppea), Alice Coote (Nerone), Wolfgang Ablinger-Sperrhacke (Arnalta), et al., Orchestra of the Age of Enlightenment, Emmanuelle Haïm (cond.)

Above: Danielle de Niese as Poppea
All photos by BBC/Chris Christodoulou

 

Richard Jones’s production of Macbeth last year, whose big blocks of set and full-chorus choreography didn’t made it to the Proms, ended up a shell of its former self, and the voices that had sounded impressively powerful in the intimate Sussex theatre were, if not lost, then at least diminished in effect when transferred to the Hall.

The fact that Robert Carsen’s production of L’incoronazione di Poppea was relatively austere to begin with, starting off at Glyndebourne with little more on stage than a big red curtain, meant that it was destined from the start to transfer successfully to the Proms, in a semi-staging by Bruno Ravella.

Alice Coote as NeroneAlice Coote as Nerone

The central relationship between Nerone and the upwardly-mobile sex kitten Poppea was portrayed quite unconventionally. The two began the opera drunk with lust and longing for one another, but as the drama progressed, it was clear that Nerone was gradually becoming aware that Poppea’s lust for power and position had overtaken any genuine love towards him. His resentment grows to the point that as he promises to make her Empress, he barely stops himself from striking her – and though he still cannot resist her, most of the final duet was sung from opposite sides of the stage, with the two hardly looking at one another. Poppea gets what she wanted, but for Nerone it’s an empty celebration.

As thought-provoking as it was to see their relationship from that angle it isn’t a concept that’s borne out by the music. From the very beginning, we are told in no uncertain terms that it is going to be a victory for Love over both Virtue and Fortune, and at the end the sinuous intertwining lines of ‘Pur ti miro’ are clearly a musical evocation of a couple united in erotic love. Though historical sources relate that Nero later killed Poppaea by kicking her in the stomach while pregnant, this is not something that casts a premonitionary shadow over Monteverdi’s score. It is not even an idea which sits well within this staging, given the constant presence of Cupid (Amy Freston) as a sort of master of ceremonies.

In other respects it was a lively performance, with the comic episodes brought off really sharply. The two Nurses were both sung by men in drag – Poppea’s nurse Arnalta was the larger-than-life tenor Wolfgang Ablinger-Sperrhacke, while Ottavia’s nurse, sung by counter-tenor Dominique Visse, was a more subtle creation, all pursed lips and disdaining looks. The interchange between the Page (Lucia Cirillo) and the Damigella (Claire Ormshaw) was brought vividly to life.

Poppea_Glyndebourne_Proms1.pngScene from L’Incoronazione di Poppea

Musically, Emmanuelle Haïm and the Orchestra of the Age of Enlightenment never let the lengthy score drag, and the cast was very strong, with Alice Coote’s smoky-voiced Nerone particularly striking. Besides Coote, the other vocal highlight was Tamara Mumford’s warm-voiced, impassioned Ottavia, even if Nerone’s complaint about her ‘barren frigidity’ raised a laugh thanks to Mumford’s advanced stage of pregnancy. The role of Poppea seems to lie well for Danielle de Niese’s soft-grained soprano, and she looks wonderful although she does have a tendency to overact. Only Paolo Battaglia, as Seneca, sounded dry and uneven, though I did find myself wondering, given the forces – a chamber orchestra and smallish voices – quite how successful I would have found the performance if I’d been sitting up in the rear of the Circle or standing in the Gallery.

Ruth Elleson © 2008

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):