OPERA IN ONE PROLOGUE AND THREE ACTS
LIBRETTO BY GIOVANNI FRANCESCO BUSENELLO BASED ON ANNALS BY TACITUS
FIRST PERFORMED IN 1642-1643 AT THE TEATRO GRIMANO (SANTI GIOVANNI E PAOLO) OF VENICE
VENICE VERSION (1650)

NEW PRODUCTION OF THE FESTIVAL D’AIX-EN-PROVENCE
IN COPRODUCTION WITH OPÉRA DE RENNES, PALAU DE LES ARTS REINA SOFÍA, VALENCIA

THIS PRODUCTION WAS MADE POSSIBLE THANKS TO VINCENT MEYER, GRAND DONATEUR DU FESTIVAL D'AIX-EN-PROVENCE

Conductor
Leonardo García Alarcón
Stage director
Ted Huffman*
Stage designer
Johannes Schütz
Stage designer, additional creations
Anna Wörl
Costume designer
Astrid Klein
Lighting designer
Bertrand Couderc
Dramaturgy
Antonio Cuenca Ruiz
Movements Collaborator and maître d'armes
Pim Veulings
Assistant to the Conductor and Language Coach
Fabián Schofrin
Assistant to the Conductor and vocal Coach
Jacopo Raffaele
Pianiste répétiteur
Frédéric Isoletta
Staging Assistant
Maud Morillon
Set Design Assistant
Eleni Arapostathi
Costumes Assistant
Louise Watts
Poppea
Jacquelyn Stucker
Nerone
Jake Arditti
Ottavia / Virtù
Fleur Barron*
Ottone
Paul-Antoine Bénos-Djian*
Seneca
Alex Rosen*
Arnalta / Nutrice / Famigliare I
Miles Mykkanen
Fortuna / Drusilla
Maya Kherani
Amore / Valletto
Julie Roset*
Lucano / Soldato I / Famigliare II
Laurence Kilsby
Liberto / Soldato II
Riccardo Romeo
Littore / Famigliare III
Yannis François
Orchestra
Cappella Mediterranea
*Former artists of the Académie

Bad men take as much delight in their shame as good men in noble things.

Sénèque, On Happy Life, 58 A.D.

Under the bloody reign of young emperor Nerone, nothing and no one can stop the rise to the throne of beautiful and immoral Poppea. The most flamboyant Shakespearean dramas as well as the best of today's series pale in comparison of Monteverdi’s last opera when it comes to lucidly portraying the passions of humankind – from bedroom to political arena. The Coronation of Poppea combines sublime and grotesqueness through a portrait gallery of ambivalent protagonists and colourful supporting characters, in a unique freedom of tone and musical inventiveness. Leonardo García Alarcón, who made us rediscover Cavalli's operas (Elena in 2013 and Erismena in 2017), is back with the generous and imaginative musicians of Cappella Mediterranea. They can rely on a sensational team of young singers, some of whom were part of the Festival's Académie. Ted Huffman invites them to a role play that brings to light the mechanisms of human society as an eternal comedy of power and seduction.

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