agrippina met opera review

Franco Fagioli’s counter-tenor is not to my taste, but his punk, tattooed Nero is delivered with powerful vocal and dramatic clarity.

On a purely musical level, the Met's new Agrippina does a pretty decent job for Handel although the cuts to keep the running time to around three-and-a-half hours made a muddle of the third act. Yet I came away feeling empty: the staging lacks the genuine originality of Kosky’s Glyndebourne production of Saul, and there’s something jejune and predictable about the men in suits, the designer frocks, the undertones of incest, the snogging and jiving, the camping and vamping. Still, McVicar tactfully hints at a crumbling mythic veneer through the image of Claudio sitting alone outside of his social circle as if exhausted of the court intrigues: A painted canvas of a wolf — healthy in Act I and bloodied to close Act II — now resurfaces as a greyed carcass during a celebratory chipper finale. Barrie Kosky’s staging, a co-production with the Bavarian State Opera where it opened earlier this year, marks its first appearance at Covent Garden.

This adaptation of Théâtre Royal de la Monnaie’s production occurs during the tricentennial of George Frideric Handel’s music and Vincenzo Grimani’s libretto — ripped as it is from the pages of Roman history. You gotta see that bar scene in act 2.! We rely on advertising to help fund our award-winning journalism.

Mezzo-soprano Joyce DiDonato is a delightful hand-rubbing schemer, while mezzo-soprano Kate Lindsey steals the show with her swagger and youthful slouch as Nerone, enacting the funniest number of the night when the humiliated son smothers himself with buttloads of cocaine. Crowe makes a lovely Poppea, but we’re also very aware of the streak of toughness that lurks behind her charm. That’s it for me. Written early in the composer’s career before he settled in London and consolidated a more rigidly formulaic template, the score is supple and free-flowing.

While one is grateful to have such a terrific work finally at the Met in 2020, one wishes that it had gotten the chance in its 1998 guise instead. New York Classical Review (George Grella). While Agrippina wants to dominate every man in the opera, almost every man in the opera wants to dominate Poppea. The best known of these is the Royal Festival Hall which boasts the London Philharmonic Orchestra, the Philharmonia Orchestra and the Orchestra of the Age of Enlightenment as residents. In the Met's first-ever performances of Agrippina, Handel's satire of sex and power politics, Sir David McVicar reconceives a production he originally created for the Monnaie in Brussels in 2000, evoking a scandalous world in which the Roman Empire never fell but simply kept going right up to the present. Does McVicar’s modernized makeover give the court intrigue of Agrippina anything visceral to say about our era? Agent provocateur, enfant terrible, public menace - call him what you will, Barrie Kosky is without doubt one of the most exciting and inventive opera directors on the scene today, and his new production of Handel’s Agrippina (first seen in Munich this summer) will clearly be a big winner with audiences.

I think it may have been too bawdy for the audience in the theater where I attended it and I often felt I was alone in laughing and applauding.
Until October 11, in repertory with Don Giovanni.

Agrippina The Metropolitan Opera 30 Lincoln Center Plaza ends on March 7, 2020 for tickets, call 212.362.2000 or visit The Met, also screens LIVE IN HD Saturday, February 29, 2020 encore on Wednesday, March 4, 2020 run time: 4 hours 10 minutes for tickets, visit Fathom, { 5 comments… read them below or add one }.

The opera charts her attempts to secure the imperial succession for her son in opposition to the weak-willed Claudio, whose choice has fallen on the morally upright Otho. More than once, however, he clears the stage for a scene of heart-stopping tenderness. Performances are scheduled through March 7, with the February 29 performance broadcast live in movie theatres globally. 3. This Marylebone concert hall has managed something pretty special.

I thought this opera was hilarious!! Editor Rating: 4. It’s clever, sharply observed and witty, if occasionally harder edged in tone than Handel intended. As so often in Handel, power and desire are inextricably linked, and the narrative is a complex web of multiple deceptions as Agrippina seeks to exploit the private sexual configurations among those around her. Joyce DiDonato as Agrippina and Matthew Rose as Claudio in Handel’s Agrippina at the Metropolitan Opera, New York, 2020. Holding a distorted mirror to contemporary society (as Handel did when he staged this opera), the production presents the corrupt intrigues of the political classes, brought to life by Joyce DiDonato as the power-hungry empress Agrippina. 2. Agrippina, Barbican review - over-the-top comic brilliance Handel's Roman comedy gets a bit Carry On Up The Capitol. Agrippina featues unscrupulously ambitious political figures who act recklessly and an emotionally stunted would-be ruler. The concert hall hosts classical music primarily, but also folk, contemporary and world musicians. It certainly proved its worth at the Met this past season, having received a rousing reception at its debut. Bicket is the leading conductor of Handel's operas and a frequent collaborator with DiDonato. My audience did not laugh out loud, and neither did the Met audience, but maybe we did not think or did not know that it would be okay to laugh. opera review Feb. 14, 2020 Great Voices and Coked-Up Staging in the Met’s Agrippina By Justin Davidson @JDavidsonNYC From Handel’s Agrippina, at the Met.

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