And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. If Narciso tried to hide his excitement at playing with Agrippina, Lindsey’s Nerone was all too happy to get Rae’s Poppea to ramp up the fun. Posted Mar 01, 2020 at 5:35 pm by Martín Caracoche. Yannick Nézet-Séguin leads Puccini’s grand final opera, with Christine Goerke in the title role, Yusif Eyvazov as Calàf, Eleonora Buratto as Liù, and James Morris as Timur.
Besides allowing the characters to explode into their most exaggerated traits (Narciso being a crybaby, Nerone always acting like he’s high), McVicar is exceedingly clever in how he stages the text, giving it new and very appropriate context. It didn’t necessarily empower her, but perhaps suggest an increased desperation. Her “Vaghe perle” transformed the satirical tone of Act I into warmth. We see his face on a tiny screen on stage left, the substance of the news less important than the fact that it is being reported. Bass Matthew Rose interpreted Claudio as a boorish oaf, a man who thinks that he can do as he pleases because he has power. And in the hands of David McVicar, they come across as modern masterworks.
The all-star cast features mezzo-soprano Kate Lindsey as Agrippina’s son and future emperor Nerone, soprano Brenda Rae as the seductive Poppea, countertenor Iestyn Davies as the ambitious officer Ottone, and bass Matthew Rose as the weary emperor Claudius. Constantly high and wiping her nose, Lindsay’s Nerone was a snake.
Watched the Saturday matinee broadcast in Phoenix, AZ.
I was also stunned by Kate Lindsey’s transformative performance as Nerone; best performance of a trouser role ever! Went to this last night.
Instead of taking the act seriously, Lindsey crawled up the stairs, like an animal ready to launch itself on its prey. If you wanted any proof that Agrippina was in charge, this was it. But as her plan implodes, so too does the staircase recede into the background, completely disappearing when Poppea takes over the narrative in the middle of the second act and for much of the third. At the core of the opera are two women locked in a battle of wills.
This was just the opening night and it was clear that this production was intensely rehearsed and conceived by all of the participants.
Their characters have the most air time, but beyond that their singing was sumptuous all evening. There was some fleeting messy moments in Act III, but in this fun and unexpectedly moving night at the Met, all was forgiven. But it wasn’t meant to last and eventually things started to fall apart for her. Poppea walks over to the staircase and reaches out for him, only to be stopped by Ottone.
David holds a Masters in Media Management from Fordham University.
When she reappears at the close of the first half, during Ottone’s famed “Voi che udite il mio lamento,” the curtain portrays the she-wolf as hurt, but still standing, mirroring Ottone’s own fall from grace and the state of affairs being painful and chaotic.
A golden staircase with a golden throne dominates the scenery, rotating about during the opening scenes. His vibrant sound throughout “La mia sorte fortunate” doubled this sense of strength, even though his triplet runs on “fortunata” were muddled.
In the pit, Harry Bicket did a fine job of navigating a lengthy evening. Saw this today, great job by the director keeping the comedy going even when the performers aren’t doing much besides singing.
At one point she did a side plank and sang, drawing intense audience laughter, but showing the character’s misplaced narcissism. DiDonato’s voice never rose above mezzo piano the entire time, drawing the listener in every step of the way. Complications and hijinks ensue, including a love quadrangle involving Poppea (soprano Brenda Rae in her Met debut).
Prior to creating OperaWire, DAVID SALAZAR, (Editor-in-Chief) worked as a reporter for Latin Post where he interviewed major opera stars including Placido Domingo, Anna Netrebko, Vittorio Grigolo, Diana Damrau and Rolando Villazon among others. Nerone is the main focus in the early going, but when Ottone’s heroics take over, the news reporter drops the initial story without any reflection and immediately jumps to the next big scoop, allowing Ottone to have the spotlight. Lindsey also made sure to not portray Nerone as any kind of lady’s man.
And in the context of this production, they were mainly framed as archetypes taken to extremes, a band of bumbling idiots in many cases. As Pallante, Duncan Rock played up the role of the self-confident general in his initial appearance before Agrippina.
Poppea is the one who engineers the denouement, and the commander is the one square among the vibrant characters. Agrippina was originally set in Rome, late in the reign of the Emperor Claudius (d. 54 C.E.
Bicket led a pared-down orchestra, augmented with lute, theorbo, and cellist David Heiss in the continuo group.
Those images hit even harder when you see it as a visual “State of the Union,” if you will, as it reflects on the narrative and its characterization of the main players. They might even be completely indiscernible outside of their ranks and positions and the musical characterization. He doesn’t hide away from the fact that the music of this era, is at its core, dance music and he uses that to his advantage at every turn, whether it be Ottone having a boy band moment with two other fellow soldiers during “Coronato il crin d’alloro” or seeing two dancers go at one another during the big harpsichord duet in the middle of the second act. The reporter, followed by a camera crew doesn’t ask questions or even show any sense of agency, but simply points a microphone and camera at the characters, letting them dictate the narrative.
She wouldn’t lose that handle in the ensuing scenes. And then there is Agrippina, dressed in black, a woman so concerned with maintaining power that she’ll lie and lie again to get what she wants. As you enter the theater, the first image plastered across the stage is of the mythical she-wolf and two little babies, Remus and Romulus.
With Harry Bicket, Deborah Voigt, Joyce DiDonato, Kate Lindsey.
As in all of the composer’s operas, supreme vocal virtuosity is expected and required to express the drama, nowhere more on display than in Agrippina’s climactic fury aria “Pensieri, voi mi tormentate.”, Benini; van den Heever, DiDonato, Polenzani, Rose.
The title character (played by the great Handel mezzo-soprano Joyce DiDonato) is the wife of Roman emperor Claudio (bass Matthew Rose) and mother of Nerone (mezzo Kate Lindsey). Agrippina, written in 1709, is one of his best—despite its opera seria designation—and the Metropolitan Opera’s terrific new production, which opened Thursday night, showed that comedy remains an ideal vehicle to communicate musical beauty on the opera stage. Although there are more ensembles scattered throughout the score than Handel gave to his later operas, the basic unit of this opera is, like those others, the da capo aria. He sexually harasses Agrippina while constantly feeling himself up, almost as if compensating for the masculinity he wishes was there but probably isn’t (it’s a pants role).
His aria “Volo pronto e lieto” was one of the comic high points of the night. She takes a pot of flowers and hides herself behind it.
While Agrippina wants to dominate every man in the opera, almost every man in the opera wants to dominate Poppea.
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