L'incoronazione di Poppea

We are presented with Claudio Monteverdi’s final operatic work, L’incoronazione di Poppea, a story that diverts from the classical tradition of virtuous triumph to explore the darker corridors of ambition and desire in Ancient Rome. You will hear a score that prioritises the natural rhythms of the human voice, where the music shifts fluidly between conversational recitation and more melodic passages to mirror the shifting emotions of the characters. The instrumentation focuses on the basso continuo, providing a rhythmic and harmonic foundation that allows the vocal lines to lead the narrative. As you listen, we suggest paying attention to the intimate duets and the way the composers of this period used small instrumental gestures to underscore moments of psychological tension. The evening is shaped around the rise of Poppea, moving through scenes of political intrigue and personal sacrifice towards a final, famous expression of sensual union that remains one of the most striking conclusions in early opera.

The Academy of Ancient Music returns to the Barbican Hall, led by conductor Laurence Cummings. This ensemble is widely recognised for its commitment to historically informed performance, typically using period instruments to recreate the specific sonic textures of the seventeenth and eighteenth centuries. They are joined by a large cast of soloists including Ed Lyon, Anna Dennis, Katie Bray, and Eric Owens. The group is known for bringing a scholarly yet vibrant approach to the early baroque repertoire, often performing in major London venues and international concert halls to maintain the legacy of the late Renaissance and Baroque eras.

This performance takes place at the Barbican Hall in London and has a running time of approximately 120 minutes. As an opera presented in a concert hall setting, the focus remains firmly on the musical execution and vocal storytelling rather than elaborate stage machinery. The two-hour duration makes it a manageable choice for those who prefer a more concise operatic experience compared to longer nineteenth-century works. The venue does not enforce a specific dress convention, though most attendees opt for smart-casual attire. Please note that while the work is performed in its original language, specific details regarding surtitles have not been provided.