Opera at its very best - from Met to Tibble

Metropolitan (New York) 2020-02-29
and Tibble Theater

Händel: Agrippina

Production: Sir David McVicar
Set and costume designer: John Macfarlane
Lighting designer: Paule Constable
Choreographer: Andrew George

Conductor: Harry Bicket
Orchestra and Chorus of the Metropolitan Opera

Joyce DiDonato (Agrippina)
Kate Lindsey (Nerone)
Brenda Rae (Poppea)
Iestyn Davies (Ottone)
Duncan Rock (Pallante)
Nicholas Tamagna (Narciso)
Matthew Rose (Claudio)



Händel was only 24 yo when he composed this opera for the carnival season 1709/1710 in Venice. Of course his style and sense for drama developed over the next 50 years, but already here so much of it is already in place. The treatment of the orchestra might not be as elaborate as in his later works, but his sense of melody and his understanding of drama is definitely spot on. The libretto by Cardinal Vincenzo Grimani sure helps, it's probably the best text Händel ever got to work with.
One intersting thing with the opera is that it doesn't really have a main character, even if Agrippina is much of a motor in the drama. But often the drama moves away from her and she is left behind. 
This is not an opera where the bad are all bad and the good are all good. OK, Ottone might be a truly good character and Agrippina hasn't much of good in her, but the overall impression of the opera is that everyone is manipulating and lying to get what they themselves want. This makes the opera truly relevant in today's political landscape.

Sirt David McVicar was once again showing his genious. I saw his Glyndebourne production of Händel's Giolio Cesare in Egitto, and I was struck by his way of mixing realism in emotions with formalised aesthetics - everything coming out of the music. He is using much of that also in Agrippina. It is as if he is always starting with the music. Emotions, gestures and dramatic action are always fully in line with what is happening in the music. He manages to get that difficult balance between individual artistic freedom and ritualised form. My impression is that the rehearsal period has been quite challenging for the singers. He is not satisfied with the singers just to sing and act within a fixed frame, he has made them find their own way of portraying his vision. This requires intelligent singers - and here he got them.

The singers in this production are all through absolute top level - everyone is credible. 
Duncan Rock and Nicholas Tamagna created comedy in their oily characters. Tamagna has a very attractive countertenor that adds to the experience.
Matthew Rose might not have the most interesting character in this opera, and in this production he was used mainly for comic effect as an awkward seducer or a self-centered golf player. But his voice had a warm and round tone that came very well to use especially in the beautiful aria "Vieni, o cara".
Iestyn Davies was for me "the odd character" in this production. He has a beautiful countertenor voice with an almost instrumental sound, but compared with the other singers it came out as slightly lacking character. His acting was also a bit restricted and uncomfortable. 
Brenda Rae was a new experience for me. She was not only a great actor, but her soprano had a superb clarity and focus, especially in the higher register. In the "bar scene" she was nothing less than superb - both as an actor and as a singer.
Kate Lindsey added vitality and drame every time she was on stage. Her acting was very much based in her body. Her way of moving made her stand out against the rest, and that made Nero into a character that even if he isn't running much of the business in this opera, he would probabaly be able to create some nasty drama in a potential sequel. (For example like burning down Rome or killing his mother.) Her voice had a flexibility that was mesmerising in it's snake-like moves through depair, frustration and pure lust.
Joyce DiDonato is one of the most interesting singers of today through her intelligent and fully dedicated approach to any role. The sly and manipulating Agrippina felt as if it was written for her. I could see some of the typical JDiDo movements in her portrayal of Agrippina, so parts of that character seemed to be coming from herself. Her voice was a few times a bit strained in the higher register, but she used it with intelligence and vocal precision to express every possible emotion. In her second act aria "Pensieri, voi mi tormentate" she created one of the most intense operatic moments I have ever experienced. In that moment she was Agrippina.

Harry Bicket is a conductor specialised on this period. It was amazing to hear him tranform the Met orchestra into a baroque orchestra. The orchestral playing was vital, tight, dramatic - and totally Händel. I need to give the celli/bassi a special mentioning - they were creating much of the drama. The orchestra as a whole interacted perfectly with the singers. I never felt any rush or sluggishness. 

The set decor and costumes by John Macfarlane were extremely efficient. They supported the acting and the characterisation. Sometimes a rather "naked" stage like this can leave the singers abandoned, but in a production like this it worked perfectly. The moveable "tombs" added flexibility and unity through the whole opera. The throne with it's stairs was used in a very efficient way. Instead of just being a "nice symbol" it became a pivotal point for the whole opera. When Nero at the end climbed the stairs it became the long awaited plot peak.


Overall this was one of those opera evenings where everything is working together to make you sit straight up and ask yourself "what is she thinking" or "what is going to happen now".
And it gave me two new voices that I will keep an ear on - Kate Lindsey and Brenda Rae.