L’Incoronazione di Poppea by Emmanuelle Haim

This production of Monteverdi’s opera, L’Icoronazione di Poppea was orchestrated by Le Concert d’Astree under the conduction of Emmanuelle Haim.

As always, she plays very vibrant muscular music. Musically speaking, she’s someone you might want to follow when ship is sinking. Her music has such toughness and vibrancy.

This is the second production of this opera conducted by her I’ve watched. And it is much better than her previous 2008 Glyndebourne Festival production staring Danielle De Niese as Poppea. Her music is much slower, authentic and less Classical in this production (though my personal preference in Monteverdi’s music is much simpler, slower and more authentic than what she even plays here.)

All the singers sung in Baroque singing style well. And also there are less caricaturizations of the characters than her previous production.

The stage setting and direction of this production looked like an underground theatrical production played by young actors. The costumes were also the very basic mixture of period and modern as in low budget theatrical production. Even before the opera began, all the performers including the conductor in modern casual clothing were at-homely drinking, chattering and laughing with each other as they’re at rehearsal break. The opera started when the conductor was ready to come down to the orchestra pit from the stage.

This wickedly brilliant opera is the hippest and trendiest opera I know. It is very interesting considering the fact that it was written 370 years ago. And it is definitely not opera for kids.

I love the voice of Sonya Yoncheva as Poppea. Vocally, she sung this role really well. Her Poppea is beautiful, seductive and passionate. She looked like modern day wild mistress of powerful rich man with tattoo on her arm.

Portraying this character as tough trampy figure in such Hollywood style might appeal to modern audience, but personally I’m little tired of watching this type of characterization. Mockery or satire can be fun and clever. But caricaturization of character often cheapens not only the character but also production itself. But again, it is not so bad in this production as much as in the previous production.

Max Emanuel Cencic sung Nerone very well. Although I prefer singer with finer voice texture than his for this role because its vocal lines have finer nuances. He looked like 80’s eccentric tattooed punk/gram rocker. His illumines voice was electrifying as he was a Baroque’n-roller. His and Sonya Yoncheva’s duets were very beautiful.

Tim Mead who played Ottone was good with little less emotional shade.

Ann Hallenberg played the scary version of Ottavia. I’m usually very fond of her singing, but I was having hard time hearing Ottavia’s laments from her singing in this production.

The rest of the singers and over all quality of the production were very good even though they’re not the best.