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The Coronation of Poppea

by Monteverdi

Busenello after Tacitus

Translation – Christopher Cowell

Directed Chen Shi-Zheng

Conducted by Laurence Cummings

October 18 - November 6th, 2007

The Coronation of Poppea follows the story of Nerone (Anna Grevelius), great emperor of Rome, and his determination to marry his mistress Poppea (Kate Royal), divorcing his wife Ottavia (Dorreen Curran), sending her into exile.

Protestations from Seneca (Robert Lloyd) to Nerone to quell his passion, results in an order for Seneca’s suicide, such is the might of the Emperor.

Tragedy, scheming, death and altruistic purpose, these phrases suggest a dramatic, blood stirring experience, played out in a sumptuous venue such as the ENO’s Coliseum.

I have described a spectacle, however it was one that confused and bemused both myself and several audience members seated close by. The production format was Nu-rave meets Yachting Life Magazine meets The Little Mermaid, with a dash of Monteverdi thrown in.

The opening was bloodless, and emotion free, with poor Fortune (Katherine Manley), Love (Sophie Bevan), and Virtue (Jane Harrington) trussed up like neon PVC Christmas trees, the elegance of their singing falling flat within minutes of curtain up.

A naked stage, with exception of The Indonesian Orange Tree Dance Company members, who seemed to spend their entire existence pushing props from one side to the other- notably pushing Ottavia onto the stage as she rode on a pumpkin. Thereafter, her tragic solo was punctuated with a Dali-esque snorkler suspended on a wire in the background swimming.

Throughout all this miss-mash we were asked to believe Rome was an underwater kingdom and Nerone visited Poppea on a yacht. Kate Royal as the sexy siren Poppea sang with believable ardour, however she spent most of her time perched on a jutting structure doing yoga.

What was the context? I am still not sure. Before the death scene of Seneca in the first act- I had already lost the thread, and after his death- I wasn’t sure whether anyone else knew what was going on.

We were given characters that bore no relation to each other, and made about as much sense as the remote control shell Nerone was given by his guards to play with, before in a fit of rage smashing the controls and losing the batteries.

To be honest I am still in shock at what I saw, and after being appalled at the choice of the Kismet revival earlier in the year at the ENO, I am starting to question what is really going on there.

On the other hand, they have been known to offer great productions - On the Town, for example, was an absolute winner. However, I am sad to say this particular production, like Ottavia to Nerone, should be cast from our minds as entertaining, or indeed value for money.

Oct. 18^th – 7:30pm, Oct. 20^th – 6:30pm, Oct. 25^th & 26^th – 7:30pm, Nov. 1^st, 2^nd and 6^th – 7:30pm

			Theatre Reviews





	Katherine Hayes Review's Reviewers The Coronation of Poppea by Monteverdi Busenello after Tacitus Translation – Christopher Cowell Directed Chen Shi-Zheng Conducted by Laurence Cummings October 18 - November 6th, 2007 A review by Katherine Hayes for EXTRA! EXTRA! The Coronation of Poppea follows the story of Nerone (Anna Grevelius), great emperor of Rome, and his determination to marry his mistress Poppea (Kate Royal), divorcing his wife Ottavia (Dorreen Curran), sending her into exile. Protestations from Seneca (Robert Lloyd) to Nerone to quell his passion, results in an order for Seneca’s suicide, such is the might of the Emperor. Tragedy, scheming, death and altruistic purpose, these phrases suggest a dramatic, blood stirring experience, played out in a sumptuous venue such as the ENO’s Coliseum. I have described a spectacle, however it was one that confused and bemused both myself and several audience members seated close by. The production format was Nu-rave meets Yachting Life Magazine meets The Little Mermaid, with a dash of Monteverdi thrown in. The opening was bloodless, and emotion free, with poor Fortune (Katherine Manley), Love (Sophie Bevan), and Virtue (Jane Harrington) trussed up like neon PVC Christmas trees, the elegance of their singing falling flat within minutes of curtain up. A naked stage, with exception of The Indonesian Orange Tree Dance Company members, who seemed to spend their entire existence pushing props from one side to the other- notably pushing Ottavia onto the stage as she rode on a pumpkin. Thereafter, her tragic solo was punctuated with a Dali-esque snorkler suspended on a wire in the background swimming. Throughout all this miss-mash we were asked to believe Rome was an underwater kingdom and Nerone visited Poppea on a yacht. Kate Royal as the sexy siren Poppea sang with believable ardour, however she spent most of her time perched on a jutting structure doing yoga. What was the context? I am still not sure. Before the death scene of Seneca in the first act- I had already lost the thread, and after his death- I wasn’t sure whether anyone else knew what was going on. We were given characters that bore no relation to each other, and made about as much sense as the remote control shell Nerone was given by his guards to play with, before in a fit of rage smashing the controls and losing the batteries. To be honest I am still in shock at what I saw, and after being appalled at the choice of the Kismet revival earlier in the year at the ENO, I am starting to question what is really going on there. On the other hand, they have been known to offer great productions - On the Town, for example, was an absolute winner. However, I am sad to say this particular production, like Ottavia to Nerone, should be cast from our minds as entertaining, or indeed value for money. Supported by Lord and Lady Cummings: Oct 20 at 4 pm, London Coliseum, £4 Oct. 18^th – 7:30pm, Oct. 20^th – 6:30pm, Oct. 25^th & 26^th – 7:30pm, Nov. 1^st, 2^nd and 6^th – 7:30pm www.eno.org Copyright © EXTRA! EXTRA All rights reserved Katherine Hayes Review's Latest Opera Reviews Reviewers