Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Scene from The Coronation of Poppea [Opera Omnia]
07 Sep 2008

The Coronation of Poppea

The startup of a new opera company is always cause for cheering; it is getting harder and harder (that is, more and more expensive) to do, especially in New York.

Claudio Monteverdi: The Coronation of Poppea

Nero (Cherry Duke); Poppea (Hai-Ting Chinn); Ottone (Jeffrey Mandelbaum); Drusilla (Molly Quinn); Octavia (Melissa Fogarty); Seneca (Steven Hrycelak); Fortune and Valet (Marie Mascari); Virtue and Maid (Melanie Russell); Love (Kathryn Aaron). Conducted by Avi Stein
Opera Omnia, performance of August 26.

All photos by Matthew Hensrud courtesy of Opera Omnia.

 

If the new company specializes in unfamiliar repertory – in this case the Italian seicento, terrific news if you’re a Cavalli or Scarlatti fan – and I am! – my cheers will be all the happier. If, on attending, one finds the house packed, the crowd excited, the dramatic values high and the voices exceptionally attractive, there is very little to do as a critic but spread the word and wish the company well.

For their opening production, Opera Omnia chose Monteverdi’s hardly unfamiliar swan song, The Coronation of Poppea (1641), choosing to perform it in a slangy English translation in order to make the stage activity (often complex, always highly motivated) more immediate as well as comprehensible to audiences who may not know the work.

I first heard the piece well over thirty years ago when the New York City Opera gave it a sumptuous staging with a large, nineteenth-century orchestra and large, nineteenth-century-style voices: a top-heavy bore, amidst which glamorous Carol Neblett distinguished herself with the first total nudity on a New York opera stage, and Barbara Hendricks distinguished herself in the tiny role of “Damigella” (the Maid) – the only memorable singing of the night. It has been thrilling to watch baroque performance style evolve over the years: today, young singers know what this sort of music is about, how to make a goat-bleat trill an effective piece of vocal acting, how to vary the pace of declaimed monologues, how to be sexy in the duets – and to hear performances like Opera Omnia’s, with a band of seven (two theorbos). (One of the best Poppeas I ever heard was sung over three strings and continuo.)

The staging was vaguely modern dress, with mixed gender assignments: Ottone was a male countertenor, Nerone a female alto, Arnalta – naturally – a campy tenor in drag (when has Arnalta ever failed to steal the show?), Valletto and Amore female sopranos in drag. None of this seemed to confuse anyone. Neither did the “allegorical” opening, the “bet” among Virtue, Fortune and Love over which one rules mankind – but the working out of the story confused the stage director: Ottone fails to murder Poppea not because the god of love appears and tells him to stop (as here), but because Ottone still loves the faithless Poppea and is therefore unable to kill her. This was the one major annoyance in the staging, which mercifully did not (as is often done nowadays) make a wild gay orgy of Nerone’s drunken carousing with the poet Lucano.

Poppea_OperaOmnia2.pngScene from The Coronation of Poppea

Not so long ago, filling so large a cast with young singers whose voices were beautiful enough to hold the modern ear through scenes of Monteverdian declamation would be highly unusual anywhere but in the finest music schools; Opera Omnia’s forces all sang with clear, grateful, seemingly effortless technique, appropriate to the music (no romantic vibratos), and were personable and ardent on the stage. I especially admired scene-stealing Marie Mascari as Fortune and the comic valet, Jeffrey Mandelbaum, who projected a very masculine countertenor, more tenor than alto, as Ottone, and John Young’s Arnalta, who got the laughs without falling into camp excess. Cherry Duke made a fine, unusually masculine Nerone, if not quite the adolescent punk the score implies (or is it just that I can’t forget David Daniels’ strutting, finger-snapping sex-lout in the role?). Steven Hrycelak held down the low end well – if not the very lowest notes – as the philosopher Seneca, whose gravity (in contrast to all the other characters’ frivolity) is underlined by his being the only really low voice; Molly Quinn, as the confused Drusilla, seemed to have two voices, a soubrette soprano and a darker alto; both fell pleasantly on the ear, but she should find a way to mix them in more suitable proportions. Melissa Fogarty was an insufficiently weighty figure as the bitter Empress Octavia – perhaps the suitcase she carried in her final scene distracted us from her tragedy. Hai-Ting Chinn sang the whorish Poppea elegantly, but without the deep sensual feeling that Poppeas like Troyanos have brought to this music. Still, her final duet with Ms. Duke’s Nerone was the perfect conclusion to waft us into the night in a cloud of erotic reverie: Ah yes, back in 1641, this is why opera caught on.

John Yohalem

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):