MONTEVERDI L’incoronazione di Poppea
Sivadier’s 2012 Incoronazione on screen from the Lille Opera
View record and artist detailsRecord and Artist Details
Composer or Director: Claudio Monteverdi
Genre:
Opera
Label: Virgin Classics
Magazine Review Date: 08/2013
Media Format: Digital Versatile Disc
Media Runtime: 178
Mastering:
DDD
Catalogue Number: 928991-9
Tracks:
Composition | Artist Credit |
---|---|
(L')Incoronazione di Poppea, '(The) Coronation of Poppea' |
Claudio Monteverdi, Composer
(Le) Concert d'Astrée Aimery Lefèvre, Mercury, Baritone Amel Brahim-Djelloul, Drusilla, Mezzo soprano Ann Hallenberg, Ottavia, Bass-baritone Anna Wall, Fortune/Pallas Athene/Venus, Mezzo soprano Camille Poul, Amore; Damigella, Soprano Claudio Monteverdi, Composer Emmanuelle Haïm, Conductor Khatouna Gadelia, Virtue; Valletto, Soprano Nicholas Mulroy, Tribune; Soldier, Tenor Patrick Schramm, Littore, Bass Paul Whelan, Seneca, Countertenor Rachid Ben Abdeslam, Nurse, Countertenor Sonya Yoncheva, Poppea, Soprano Tim Mead, Ottone, Soprano |
Author: David Vickers
The only member of the Glyndebourne cast featured here is soprano Sonya Yoncheva, who is upgraded from Fortune to a cynically seductive Poppea. Max Emanuel Cencic has the range to bash out Nerone’s highest notes, and the occasional histrionic high passages and over-the-top delivery suit Nerone’s brattish character. Ann Hallenberg’s jilted Ottavia and Tim Mead’s Ottone (each by turns jealous, desperate and broken) are vocally and dramatically outstanding. Paul Whelan’s husky singing is well suited to the doomed Seneca.
I am less satisfied by Haïm’s musical direction. There are thwacks, bangs, clatters and tinkles every time the score reaches a rhythmical passage. Floridly over-egged string parts are seldom left alone in ritornellos without being doubled or replaced by fanciful instrumentation (cornettos and recorders are commonplace instead of Monteverdi’s basic string band). Much of the performance practice seems designed to draw attention to the orchestra pit at the expense of the singers. Those averse to early music purism might admire Haïm’s ostentatiously upholstered textures and anachronistic methods but in truth this musical aesthetic is a post-1970s modern construct, just like Sivadier’s stage action.
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
SubscribeGramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.