Prima la voce !
The Opéra de Lyon brings its remarkable season to a close with Monteverdi’s L’Incoronazione di Poppea. The version performed here is Philippe Boesmans’ second adaptation, premiered in Madrid in 2012.
At first, the use of modern instruments and an extensive percussion section may come as a surprise. Yet Simon-Pierre Bestion shapes the score into a coherent and compelling whole, making a persuasive case for Boesmans’ reimagining. Whether one embraces this approach or prefers more traditionally informed period performances remains a matter of personal taste.
This evening, however, the production offers one undeniable advantage: it provides an ideal showcase for the wide range of vocal talents emerging from the Lyon Opera Studio.
That proved to be the evening’s greatest success, unfortunately undermined by a staging that, in our view, missed its mark. Tatjana Gürbaca’s production too often resorts to visual excess, relying on clichés and caricature where emotional restraint would have served the work better. The constant accumulation of stage business ultimately dilutes the opera’s innate dramatic power.
Fortunately, the vocal performances more than compensate.
Giulia Scopelliti’s Poppea is a triumph. Her bright, sustained upper register is matched by an assured and nuanced interpretation, creating a magnificent contrast with Jenny Anne Flory’s Octavia, whose richly coloured mezzo register lends the character exceptional dignity and pathos.
The only singer not drawn from the Opera Studio, countertenor Iurii Iushkevich displays an impressive technique and leaves the audience eager to hear more from him in future engagements.
Eva Langeland Gjerde is equally convincing as Drusilla. Following her delightful Olympia in loco earlier this season, the Norwegian soprano once again confirms the promise of her talent.
Among the lower voices, Alexander de Jong delivers a thoroughly persuasive Ottone. He had already impressed in the role of Redburn in Peter Grimes earlier this season, and here confirms both his musical intelligence and dramatic presence.
Hugo Santos’ cavernous bass suggests an artist with remarkable potential. His Seneca combines vocal authority with gravitas, making for one of the evening’s most memorable portrayals.
Finally, Filipp Varik brings warmth and finesse to Arnalta’s celebrated lullaby, despite receiving little assistance from the staging.
One ultimately leaves the theatre with mixed feelings. While the members of the Lyon Opera Studio deserve the highest praise for the quality of their performances, they are regrettably let down by a production whose interpretation of Monteverdi’s masterpiece never fully convinces.
Poppée – Amour : Giulia Scopelliti ***
Néron : Iurii Iushkevich
Octavie / Vertu : Jenny Anne Flory **
Othon : Alexander de Jong **
Sénèque : Hugo Santos **
Arnalta : Filipp Varik **
Fortune – Drusilla : Eva Langeland Gjerde **
Eros : Arthur Baratin
Orchestre de l’Opéra de Lyon, dir. Simon-Pierre Bestion
Mise en scène : Tatjana Gürbaca
Scénographie : Marc Weeger
Costumes : Dinah Ehm
Lumières : Mathieu Cabanes
** Solistes du Lyon Opéra Studio, promotion 2024-2026
*** Solistes du Lyon Opéra Studio, promotion 2022-2024
