Monteverdi: L'Incoronazione Di Poppea

Monteverdi: L'Incoronazione Di Poppea

Monteverdi: L'Incoronazione Di Poppea
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Composer: Claudio Monteverdi
Conductor: Gabriel Garrido
Performer: Gloria Banditelli
Performer: Mario Cecchetti
Performer: Adriana Fernandez
Performer: Picci Ferrari
Performer: Guillemette Laurens
Performer: Marcello Vargetto
Performer: Furio Zanasi
Performer: Elena Cecchi Fedi
Edition: Music CD
Format: Import
CD Release Date: 2001-05-08
Music Label: K617 Records France
Soundtracks:
Music CD 1
  1. Sinfonia - Gabriel Garrido
  2. Prologo: Deh, Nasconditi O Virtu - Beatriz Lanza
  3. Atto Primo: Scena 1: E Pur Io Torno - Fabian Schofrin
  4. Atto Primo: Scena 2: Chi Parla? - Mario Cecchetti
  5. Atto Primo: Scena 3: Signor, Deh Non Partire - Guillemette Laurens
  6. Atto Primo: Scena 4: Speranza, Tu Mi Vai - Guillemette Laurens
  7. Atto Primo: Scena 5: Disprezzata Regina - Gloria Banditelli
  8. Atto Primo: Scena 6: Ecco La Sconsolata - Ivan Garcia
  9. Atto Primo: Scena 7: Le Porpore Regali - Ivan Garcia
  10. Atto Primo: Scena 8: Seneca, Io Miro In Cielo - Alicia Borges
  11. Atto Primo: Scena 9: Son Risoluto Insomma - Flavio Oliver
Music CD 2
  1. Atto Primo: Scena 10: Come Dolci, Signor - Guillemette Laurens
  2. Atto Primo: Scena 11: Ad Altri Tocca In Sorte - Fabian Schofrin
  3. Atto Primo: Scena 12: Infelice Garzone - Martin Oro
  4. Atto Primo: Scena 13: Pur Sempre Con Poppea - Emanuela Galli
  5. Atto Secondo: Scena 1: Solitudine Amata - Ivan Garcia
  6. Atto Primo: Scena 2: Il Comando Tiranno - Furio Zanasi
  7. Atto Secondo: Scena 3, 4: Amixi, E Giunta L'ora - Ivan Garcia
  8. Atto Primo: Scena 5: Sento Un Certo Non So Che - Elena Cecchi Fedi
  9. Atto Seconda: Scena: Or Che Seneca E Morto - Flavio Oliver
  10. Atto Seconda: Scena 8: I Miei Subiti Sdegni - Fabian Schofrin
  11. Atto Seconda: Scena 9: Tu, Che Dagli Avi Miei - Gloria Banditelli
Music CD 3
  1. Atto Secondo: Scena 10: Felice Cor Mio - Emanuela Galli
  2. Atto Secondo: Scena 11: Io Non So dov'io Vada - Fabian Schofrin
  3. Atto Secondo: Scena 12: Or Che Seneca E' Morto - Guillemette Laurens
  4. Atto Secondo: Scena 13: Dorme, L'incauta Dorme - Guillemette Laurens
  5. Atto Secondo: Scena 14: Eccomi Trasformato - Fabian Schofrin
  6. Atto Secondo: Scena 15: Forsennato, Scellerato - Adriana Fernandez
  7. Atto Terzo: Scena 1: O Felice Drusilla - Emanuela Galli
  8. Atto Terzo: Scena 2: Ecco La Scellerata - Martin Oro
  9. Atto Terzo: Scena 3: Signor, Ecco La Rea - Martin Oro
  10. Atto Terzo: Scena 4: No, No, Questa Sentenza - Fabian Schofrin
  11. Atto Terzo: Scena 5: Signor, Oggi Rinasco - Guillemette Laurens
  12. Atto Terzo: Scena 6: Oggi Sara Poppea - Martin Oro
  13. Atto Terzo: Scena 7: Addio Roma - Gloria Banditelli
  14. Atto Primo: Scena Ultima: Ascendi, O Mia Diletta - Flavio Oliver

Music reviews of Monteverdi: L'Incoronazione Di Poppea

Music Review: More superb will take a long time to come
Rating: 5 Stars

This opera is probably the fullest opera by Monteverdi. I am going to emphasize several outstanding points. First the tragic situation in the plot. What is important is the feelings and their expression by all the various actors of this dramatic confrontation. Nero wants to marry Poppea, his mistress, or she has managed to convince him he has to marry her, which is her interest and ambition. Nero has to repudiate his present wife Ottavia but he has to have a reason. So he waits. Out of spite she wants to punish Nero by having his mistress killed. Poppea's husband, Ottone, is deeply in love with her and he cannot do anything against Nero's will as long as Poppea is going along and he knows it is no love but only ambition. So his love for her leads him to accepting her decision. But he is also Ottavia's lover and she asks him or rather requires him to kill Poppea otherwise she will have him tortured to a slow death by Nero on the accusation that he raped her. He yields to the desire out of fear as much as spite, or maybe a desire to get even with Poppea : he looks and sounds as the only one who does not really know what he wants to do. But he is loved by Drusilla, a simple woman who lends him her clothes as a disguise to approach Poppea and kill her, on her demand, she thinks, because she wants him for herself alone. So Ottone tries to do it but Poppea is protected by Love and Ottone discovered by the servants. He runs away and Drusilla is arrested due to her clothes that are recognized. Brought to Nero she does not speak and is condemned to a slow painful death, but Ottone appears and tells he did it on the command from the Empress. Nero then exiles his wife he can repudiate easily, pardons and enslaves Drusilla in his own house, lets Ottone free since now he is out of the way, and he can marry Poppea who is crowned at the end of the opera. You must add two side mirror images of the intricacy of the plot. The first is the love affair between the Empress's page and chambermaid, Valetto and Domigella. It emphasizes how love was a game, or a sport, in that ancient Rome, but a sport in which you could kill your competitors. The second side plot is the death of Senecca, ordered by Nero. It is there to enable you to measure the depth of Nero's corruption and tyranny. The second admirable aspect of this opera is the use of voices. Poppea's two lovers are altos, starting thus a long lasting tradition up to Haendel's operas : altos are the heros, the most important males, as opposed to the sopranos who are the most important women. (We have to remember that in those days altos were in fact castratos who were males and provokingly used in their physical maleness : body and allure.) But Monteverdi's supreme genius is his use of voices in a dramatic way, hence opposing them one to the other. The most important duet is Nero and Poppea, an alto and a soprano, reaching its topmost realization in act 3, scenes 5 and 8, the latter being the finale of the opera thus giving to this duet the upmost and outstanding importance it deserves. The second remarkable use of voices is the trio of familiars accompanying Senecca to death with three male voices, an alto, a tenor and a bass in act 2, scene 3. Absolutely amazing and perfect because the three voices have the male harmonics and yet they cover a tremendous range emphasized by the contrasting tools Monteverdi uses. I will quote also the duet Nero and Lucano, an alto and a tenor, in act 2, scene. Let me say that Monteverdi's use of voices is emphasizing their flexibility as for expressing feelings and emotions, and this time the feelings and expressivity may vary through the opera and not one feeling be associated to one voice permanently : a great improvement in operatic production. Last and not least, Monteverdi gets rid of the old style by associating it musically to Senecca who also represents the respect of moral rules against any feelings, passions or emotions like love or hatred. He sings the way he thinks, in an old mould and he is sentenced to death, and in the old socratic tradition accepts to die. Beautiful death, burrying and funeral service and oration for the old style that is thus declared dead, but only with musical means. All that makes this opera one of the most perfect of this new era of operatic writing and composing. Nothing to do with older forms, like the Ludus Danielis of the 13th century. The show has gone on. A new era has risen. We can though wonder what it represents in the ideological set-up of the time. It goes to pagan models, to old Roman, widely pre-christian anecdotes, centers on passions and their killing dimension, when necessary. It is immoral, unethical, irreverential, openly antireligious. Nothing can save man or woman, except her or his passions and blind feelings. But that is the birth of a new world in which the individual can act independently of social rules. A new world really or the resurgence of an old world ? That is the debate that must have run deep in the society of the time : can we accept the fact that the earth is round and it turns around the sun just because it is so, or must we keep our sacred religious beliefs, the word of God himself ?

Dr Jacques COULARDEAU, University of Paris Dauphine & University of Paris 1 Pantheon Sorbonne
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