Michael R. Anderson
Benjamin Hopkins played Nerone and Anja Pustaver portrayed Poppea at the Sunday matinee performance.
I like to observe audiences discovering Claudio Monteverdi’s last operatic masterpiece, L’incoronazione di Poppea (The Coronation of Poppea). Madison has one more chance to experience University Opera’s current production, which opened Nov. 16.
This “early” (1642) masterpiece of Baroque opera, based on history, tells how the Roman Emperor Nero (Nerone) replaced his wife Octavia (Ottavia) with his mistress, Poppea, amid the intrigues of his degenerate court. Not surprisingly, his narcissistic tyranny brings to mind a certain present-day political figure.
It’s a difficult work to stage, requiring many decisions. Among those made by director David Ronis, some are problematic, especially some of the casting. Of the two roles meant for castrati, he has given one to a countertenor, the other to a tenor at an octave below the original pitch. There are changes in “travesty” roles (males as females). But the worst decision is to put the cast in modern dress, which really serves no purpose at all, beyond economy. (An unfortunate oversight is that the composer’s name appears nowhere in the program, save amid the director’s notes and one performer bio.)
Such puristic quibbles cannot deny the great flair and delight that charge this production. As always, Ronis’ directorial touches are mostly (if not always) quite clever, bringing both dramatic verity and delightful comedy. He is greatly aided by guest participant Christa Patton (familiar from our Early Music Festival). She not only leads the continuo team from her harp but she has trained the singers in the ideals of recitar cantando (speak in singing) that were inherent in the earliest operas before the formalism of recitative set in. Clearly the singers have benefited, with sharp Italian diction and with attention to the words that helps stimulate acting.
With a cast of some 20 singers (plus alternates), it is difficult to single out many individuals. Certainly Cayla Rosché (Ottavia) and Benjamin Galvin (Seneca), show the value of Patton’s training. Countertenor Thomas Aláam has a powerful voice and is extraordinary as the petulant and cruel Nerone. Faculty guest Mimmi Fulner is wonderful as Ottavia’s nurse (Nutrice). It’s hard to know what to make of the bearded Thore Dosdall as Poppea’s nurse, Arnalta, but he whips up a rowdy comic storm.
So many others deserve praise, and the level of singing is remarkably excellent. Above all, Ronis has made a truly effective and enjoyable production out of this landmark opera.
Repeat performances (with four cast substitutions) on Nov. 18 at 2 p.m. and Nov. 20 at 7:30, in old Music Hall.
