Claudio Monteverdi, L’incoronazione di Poppea (instrumental realization by Tim Ribchester),  “Le porpore regali…Seneca, io miro in cielo…Son risoluto al fine”

Anthony Reed, bass (Seneca); Lunga Eric Hallam, tenor (Pallade); Katherine DeYoung, mezzo-soprano (Nerone)

It is believed that the first great master composer of opera, Claudio Monteverdi (1567-1643), wrote at least 18 operas, but sadly, only three of them have survived. The first two of those are based on myths—those of Orpheus and Ulysses. The third of the surviving operas, however, takes its dramatic source from the lives of real people: Rome’s emperor Nero, his mistress (later wife) Poppea, and his court philosopher, Seneca. L’incoronazione di Poppea (The Coronation of Poppea), premiered in 1643. The opera is constructed in extended passages of recitative interwoven with brief, aria-like sections. Monteverdi focuses squarely on the title character’s obsessive desire to let nothing get in the way of her marrying Nero and ascending to the throne as empress. That includes eliminating the interference of Seneca, who believes that nothing but disaster will befall Rome if Nero continues to rule so recklessly and in so self-regarding a manner.

In the first of Seneca’s monologues, midway in Act One, he reflects sadly on the ephemeral glory that a royal court’s pomp and grandeur can offer. Suddenly he’s visited by the god Pallade, who gravely warns Seneca of foreseen disaster for him, and that if he is to die this very day, he will receive a warning first from Mercury. He accepts this news calmly, viewing death simply as “the dawning of eternal day.” When Nerone (Nero) appears, he announces to Seneca that he intends to discard his wife, Ottavia, in favor of Poppea. Knowing that Ottavia is greatly loved by the Romans, the dismayed Seneca attempts to make the emperor consider the people, as well as the Senate. Nerone, however, cares nothing for either and insists that he’ll do as he likes and make Poppea his wife.

Photos: Kyle Flubacker