The Coronation of Poppea
CHRISTOPHER SMITH Snape Maltings (Snape Proms)
CHRISTOPHER SMITH
Snape Maltings (Snape Proms)
The first event in this year's splendidly varied month-long Snape Maltings prom series attracted a large, enthusiastic audience for the Opera Theatre Company's perform-ance of Monteverdi's Coronation of Poppea. In music with a distinctive accent, it portrays sexual scheming in the heady atmosphere of Nero's court in Rome.
On Nicky Shaw's versatile set with its great hinged doors, director Annilese Miskimmon works hard to ensure there was never a dull moment. At times, in fact, she seemed to be trying too hard for a giggle.
As well as borrowing one detail straight from Carry On Cleo, she used that old trick of bringing in heavenly messengers on children's scooters.
The love scenes moved on quickly from necking to groping, with the girls not hesitating the make the first move.
Most Read
- 1 Broads Authority moves to prosecute pub over caravans - again
- 2 Part of A47 closed in both directions after crash
- 3 See inside this idyllic family home up for sale with NO nearby neighbours
- 4 EXCLUSIVE: The faces behind City's prospective US investment
- 5 Man claims supermarket fuel was contaminated as he reveals £200 repair bill
- 6 Former coastal restaurant up for auction
- 7 Thousands expected to attend huge four-day steam extravaganza
- 8 M&S to close 32 stores as part of move away from town centres
- 9 Motorcylist in 50s in hospital with serious injuries after tyre shop crash
- 10 Multiple fire crews tackle farm blaze overnight
In modern dress, with just a welcome touch of elegance for the final scene, the singers attacked their florid music with skill and determination.
But not enough of the words of the English translation were audible. Much of the acting displayed more energy than insight or finesse.
Alan Ewing used his bass voice to great effect as he maintained his dignity as Seneca dying in his bath.
At the opposite end of the vocal spectrum, the tall Stephen Wallace, was a counter-tenor emperor whose range was remarkable despite some worryingly uneven tone.
Allison Cook and Doreen Curran, in the two main female parts, knew how to produce thrilling delivery, while Neil Jenkins brought a high tenor voice and a nicely calculated sense of fun to his role as Poppea's Nurse.
Christian Curnyn conducted the Irish Baroque Orchestra, which provided well balanced support with the pair of theorboes keeping up the rhythmic pulse.