
Claudio Monteverdi, who lived from 1567 to 1643, is recognized as the father of modern opera. However, “The Coronation of Poppea,” written in 1642, points up significant differences between this opera and later ones. Here, the singing takes decided precedence over the orchestra, which consists of a baker’s dozen of baroque instruments. In addition to the familiar harpsichord and viola, players perform on the theorbo, gamba and lirone.
With the singing of major importance, it is fortunate that the Los Angeles Opera has been able to assemble a stellar cast.
Since the opera takes place in Rome in 55 A.D., several gods make an appearance. The goddesses of virtue and fortune bid for preeminence only to be trumped by the goddess of love. Later, the winged Mercury “flies in” from the ramparts.
Although there are many characters, the story is easy to follow, especially with the English super titles. Ottone discovers that his lover, Poppea, has rejected him and become the mistress of the emperor, Nero. Nero’s wife, Ottavia, is incensed and commands Ottone to kill Poppea. Suddenly, the goddess of love appears and prevents Ottone from completing his task. Nero discovers Ottavia’s plot and has her exiled while Poppea becomes his wife. Her ambition to become empress is fulfilled.
The singers are all up to the task of tackling the daunting, florid lyrics. Where to start? Frederica von Stade, everyone’s favorite mezzo, is a stunning Ottavia, practically baring her teeth as she seethes with anger. Nero is just marvelous in the hands of Kurt Streit who has majesty and a fine voice. David Daniels, the acclaimed countertenor, is the beleaguered Ottone.
Susan Graham, stately and sensuous, is perfect as Poppea, and shows why she is recognized as a leading mezzo. Her scenes with Nero are passionate to the max. Among others in the large cast are Christopher Gillett as Poppea’s aged nurse; Jill Grove as Ottavia’s nurse, Keith Jameson as a page, Christine Brandes as Drusilla, who loves Ottone, and Nicholas Phan as Nero’s close friend.
Reinhard Hagen, an imposing basso, plays Seneca who, unfortunately, is dispatched early on by Nero’s order. Others worthy of mention are Tonna Miller, Stacey Tappan and Hanan Alattar who appear as the goddesses and take on other roles.
The sets and costumes have little to do with ancient Rome and seem more appropriate for another planet or a later century. Nonetheless, it all seems to work. The sets are practically bare, with a pillar or a ball or a rock passing as scenery. However, under the direction of Pierre Audi, the singers move gracefully as they enter or leave the stage.
The costumes by the celebrated Japanese designer, Emi Wada, are sensational. Ottone almost looks Roman in his leatherish attire, but the others are bedecked in unusual robes, with pleats, ruffles, tabs and even scrolls as part of the design.
This is not an opera that everyone can love. It lasts for four hours, with two 20-minute intermissions, and the quiet drone of the orchestra with its insistent continuo can lull one to sleep. Conductor Henry Bicket, an expert in the baroque, has his instrumentalists subtly support the voices. This is a historic work and gives the audience the opportunity to discover the charms of an early masterpiece. Monteverdi’s appreciation for the beauty of the human voice is apparent throughout.