Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | L'incoronazione di Poppea (Die Krönung der Poppea), SV 308

Wie Pur ti miro lange Zeit als Ohrwurm melodiert, so wird die gesamte Mammutproduktion immerwährenden Nachhall und Eindruck in der langen und großen Erfolgsgeschichte Gardiners Monteverdi-Exegese hinterlassen.

Die beiden Protagonisten (Poppea und Nerone) sind ausgezeichnete Sänger. Sie wurden stimmlich nur von Marianna Pizzolato als Ottavia überschattet, mehr noch vom mächtigen Bass von Gianluca Buratto als Seneca.

In Schwetzingen zeigt das Ensemble La Venexiana Monteverdis L‘incoronazione di Poppea in einer halbszenischen Aufführung äußerlich im modernen Outfit, aber musikalisch in schönster historischer Klanggestalt.

Barrie Kosky spielt in einer neuen Fassung von Die Krönung der Poppea an der Komischen Oper mit traditionellen Konventionen des Männlich-Weiblichen.

In der Inszenierung von Claus Guth bestechen der Blick in menschliche Abgründe und Komik gleichermaßen. Jean-Christophe Spinosi dirigiert eine exzellente Besetzung und „Elektronik meets Originalklang“.

A wonderful cast conducted by William Christie in a new production of L’incoronazione di Poppea at the Salzburg Festival. 

Calixto Bieito sets Monteverdi’s L’incoronazione di Poppea in a hedonist, decadent society whose citizens are defined by their egotism, ambition and sexual exploits.

The Staatsoper's new L'incoronazione di Poppea is serious, intelligent but short on fire.

La Sociedad Filarmónica de Bilbao conmemoró el aniversario del nacimiento de Claudio Monteverdi con la interpretación de L’incoronazione di Poppea en versión concierto a cargo del Ensemble Matheus con Jean-Christophe Spinosi al frente y un fuerte elenco encabezando el cartel.

Pinchgut Opera's L'incoronazione di Poppea is a glorious feast of singing, acting and playing but the production is brutal, taking Monteverdi's vision of corruption in high places to excessive lengths.

Clôturant cette triologie Monteverdi, Le Couronnement de Poppée nous démontre une nouvelle fois l'alchimie palpable entre les solistes, l'orchestre des English Baroque Soloists et Sir John Eliot Gardiner, qui composent ensemble une fresque des passions humaines aussi réjouissante que complexe.

The final opera in Sir John Eliot Gardiner's Monteverdi 450 trilogy features an excellent cast and inspires deep emotion.

A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast. 

L’Opéra de Lyon reprend Monteverdi dans la mise en scène aixoise de Klaus Michael Grüber (2000)

Le plasticien et performeur Ben Vautier qui « aime le nouveau » se pose cette question existentielle : « si faire nouveau n’est plus nouveau, ne plus faire nouveau est-ce encore nouveau ? » Le Couronnement de Poppée de Monteverdi donné à l’Opéra de Vichy lui répond par l’affirmatif. 

In Shoreditch, the Royal Academy of Music showed off some superb singing in a chilling exploration of tyranny and unrestrained power.

The workshop of Accademia di Bel Canto "Rodolfo Celletti" exhibits young rising singers in an all-time masterpiece. 

Pared-down sets and minimal stagework draw eyes and ears forward in concentration. Whilst the text is at times searingly erotic, Nero and Poppea never touch.

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar. 

Nina Brazier’s production for Ryedale Festival Opera, on tour at Grimeborn, resoundingly succeeds on all levels, giving us an evening of luxurious beauty, abandoned sensuality and superb characterisation.

Du 7 au 30 juin, la scène du Palais Garnier accueille Le Couronnement de Poppée, opéra de Monteverdi (1642), dans une version établie par le chef Rinaldo Alessandrini, assortie d’une mise en scène très poétique de Robert Wilson. Une production raffinée et élégante, néanmoins susceptible de décevoir les spécialistes de Monteverdi.

When the Baroque movement in art ended, the backlash was severe. The very adjective became an insult: the cold, clear, rarefied eye of 18th-century Neoclassicism found its opulence stifling, its luxury oppressive, and its profusion of ornament, ugly.

“I apologise to those who anticipated togas, or 17th-century Venice”, writes James Conway in the programme notes to his production of Monteverdi’s The Coronation of Poppea, currently running at the Royal College of Music’s Britten Theatre in London.

Claudio Monteverdi was employed by Victor Gonzaga, the Duke of Mantua, but was dismissed from the court when his son Francesco Gonzaga took title in 1612. Monteverdi moved to Venice to take up the appointment of Director of Music at St Mark’s Basilica.

Written near to his death, Claudio Monteverdi's L'Incoronazione di Poppea – a Roman tale of obsession, jealousy and betrayal – launched the medium of opera onto the stage and in doing so changed the course of music history forever.