Review: Opera Warwick’s ‘The Coronation of Poppea’

When listing the great maestros of opera, Monteverdi is not often a name that springs to mind. And yet, it is thanks to him that we know the names of men like Rossini, Puccini and Verdi. One of Monteverdi’s most enduring operas is The Coronation of Poppea, a sadly underperformed tale of desire, love and fortune. Opera Warwick and Naomi Clugston skilfully bring the world of Ancient Rome to life, along with an outstanding cast and crew.

From the moment you sit down, you are taken to the world of Imperial indulgence. The set, created by Eihmin Walker and Naomi Clugston, seems to resemble a Turkish bath, with rugs, pillows and panels surrounding a golden bath. This decadence, intensified by the lighting, evokes the frivolity of Nero’s reign and the importance of lust throughout the opera. There are also a range of details in the set (such as the colour palette of red, white and gold) that enhance the beauty of the design.

As the score strikes up, played brilliantly by Benjamin Hamilton and the rest of the band, we see the Goddesses Love, Fortune and Virtue take position on stage. Although their role is brief, they serve to reinforce the detailing of the set through their costumes, handmade beautifully by Rachel Lewis.

As they leave, we are introduced to Nero and Poppea, taking pride of place in the golden bath. As the central characters, they shine. Charlotte Ireland’s Nero is a masterful turn, as she combines a strong soprano with all the masculinity expected of a Roman Emperor. Hannah Price’s Poppea is equally brilliant, portraying a woman who is both in love and lust, humanising one of history’s greatest adulteresses. And when they sing together, the chemistry between the two is palpable. Despite the unconventional casting, the stage simmers when they perform, and you almost feel embarrassed to watch, as if you’ve intruded on something intensely private.

Thanks to both the superb acting talents of the cast and the skilled direction, there are regular moments of comic relief, which makes it even more enjoyable to watch. The nurses provide some of the funniest scenes in the opera, with Tom Stevenson’s Arnalta and Matt Bond’s Nutrice giving a humorous take on the otherwise dramatic events unfolding. Nutrice in particular plays off Octavia, played by Imogen Faris, very well, alleviating her role as the scorned Empress. As an advocate of Virtue, she seems destined to fail, especially when confronted by the superior powers of Love which Poppea represents.

One of the finest aspects of this opera is the ambiguity of the story. Although Samuel Lom’s Seneca is unquestionably virtuous, it is not clear where the audience’s sympathies are meant to lie, be it with Octavia or Nero. However, the choral aria which constitutes the finale of Act 1 is magnificent, but also demonstrates the position of Seneca. Although he is condemned to die, this is clearly the will of a fickle Emperor, and not a fitting end for so great a man. Completing the gifted cast are Nicolas Rivard and Rosalie McCann, who play Otto and Drusilla respectively. Their storyline intertwines with that of the Imperial court, highlighting the effects that Imperial abuses of power have on the ruled.

Naturally, the finale is a high point for the entire production, and as Nero and Poppea are finally able to come together, we see the first shadows of doubt in Poppea’s face as Nero embraces her. This is the beauty of both the opera and the way it has been produced. By making the outcome ambiguous, it forces the audience to remain neutral throughout, which in turn enables it to stay in one’s mind long after the music has died. A truly memorable and accomplished production of one of Monteverdi’s greatest works, this is arguably a must-watch for Opera Warwick.

The show will run at Warwick Arts Centre until Thursday 19th June and tickets are priced at £12.