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    L’Incoronazione di Poppea

    Claudio Monteverdi 

    The last work by Monteverdi, the genius behind the invention of the modern opera form in all its theatrical richness.

    Photo de Catherine Trottmann © Thibault Eskalt
    Catherine Trottmann © Thibault Eskalt
    Photo du Banquet Céleste © Julien Benhamou
    Le Banquet Céleste © Julien Benhamou

    Catherine Trottmann | Poppea 
    Ray Chenez | Nerone
    Victoire Bunel | Ottavia / La Virtù
    Paul-Antoine Bénos-Djian | Ottone 
    Adrien Mathonat | Seneca / Consulo 
    Paul Figuier | Arnalta / Nutrice / Famigliare
    Maïlys de Villoutreys | Fortuna / Drusilla / Damigella 
    Camille Poul | Amore / Valetto
    Sebastian Monti | Lucano / Soldato / Famigliare
    Thibault Givaja |  Liberto / Soldato 
    Yannis François | Littore / Famigliare / Mercurio

    Le Banquet Céleste 

    L’Incoronazione di Poppea is probably the first opera to be based on a theme drawn from history. However the historical subject matter ultimately takes a back seat. The work is essentially a depiction of love which is all the more sublime and pure because it brings together two people characterised by wickedness and infamy, just like in the Annals of Tacitus. Although the last opera by the Master of Cremona heralds the birth of modern opera by inventing a new type of theatricality, he was equally innovative in his daring use of rhythm, harmony, and voice in the pursuit of dramatic effectiveness. Singing is given pride of place; the decision to use a reduced orchestra allows passions to be expressed with striking realism because the voices are so luminously exposed. 

    Production Jeanine Roze Production