(Foto: Monika Rittershaus / Courtesy of Opernhaus Zürich)

George Frideric Händel composed “Agrippina” during his Italian tour, a work that marked a pivotal moment in his career. It solidified his grasp of Italian opera, represented his first genuine operatic triumph, and remains the earliest of his operas for which the complete score has survived intact. The libretto, written by Cardinal Grimani, presents a fictional narrative centered around historical figures: the Roman Emperor Claudius, his wife Agrippina the Younger, her son Nero, and his wife Poppea.

A Fictional Story with Historical Characters

When news reaches Rome that Emperor Claudio has died, his wife Agrippina seizes the opportunity to advance her son Nero, from a previous marriage, to the throne. However, Claudio is actually alive, having been rescued by Ottone, who is named Claudio’s heir as a reward for his bravery. This sets the stage for a complex web of lies and deception. Agrippina fuels a rivalry between Claudio and Ottone, both of whom are enamored with the same woman, Poppea. She convinces Poppea that Ottone no longer loves her, manipulating her to further her own ambitions.

Eventually, Poppea uncovers Agrippina’s deceit and, in a scene reminiscent of “Le nozze di Figaro,” she orchestrates a meeting with all three of her suitors—Claudio, Ottone, and Nero—in her chambers. By hiding them in various closets, she exposes Agrippina’s scheming to Claudio. The emperor, more feeble and indecisive than noble, opts for forgiveness over retribution, leading to the traditional happy ending: Nero is named Claudio’s heir and future emperor, while Ottone and Poppea are united in marriage.

Director Jetske Mijnssen relocated the story to contemporary New York, centering it around the dysfunctional family of a tycoon (Claudio) whose financial empire is on the brink of collapse after he is hospitalized—likely poisoned by his wife. While updating opera settings to modern times is a tactic often overused by directors, in this instance, it proves remarkably effective, highlighting how the struggle for power in ancient Rome mirrors today’s battles for control over corporate empires. To align the narrative with the modern setting, the surtitles were adjusted, removing references to Rome or the “throne,” which, though annoying, did not detract from the overall success of the concept.
The staging, designed by Ben Baur, featured a sleek, elegant apartment with three distinct rooms where the entire drama unfolded. Meanwhile, the costumes by Hannah Clark perfectly captured the sophistication and style of high society, adding a layer of visual richness to the production.

A Superb Agrippina Leads the Cast: Anna Bonitatibus

Anna Bonitatibus delivered a magnificent performance in the title role. Her warm, velvety mezzo-soprano voice showcased flawless trills, radiant high notes, and precise coloratura, all executed with a technical mastery that never felt self-indulgent but always served the music. Her exceptional musicality was further highlighted by her remarkable ability to imbue every word with meaning, making the recitatives as captivating as the arias. Her acting was the perfect complement to her singing, resulting in a truly outstanding performance.

Christophe Dumaux portrayed Nerone with a countertenor voice that demonstrated remarkable projection and a uniquely warm timbre. His coloratura and high notes were supported by astonishing technical skill and breath control. Dumaux’s Nerone depicted as a spoiled brat, micromanaged by his overbearing helicopter mother, adding character depth to his already impressive vocal performance.

Poppea, who in this production is portrayed as Claudio’s nurse and moves into their apartment to care for him, is typically sung by a soprano. However, in this staging, the role was taken on by mezzo-soprano Lea Desandre, who handled the higher tessitura with ease. Her bright, luminous voice was perfectly suited to the character of a young, beautiful woman desired by nearly every man on stage. Desandre’s portrayal was both convincing and dynamic, with her physical agility and vocal precision shining through in every scene.

Poppea’s lover, Ottone, was performed by countertenor Jakub Józef Orliński, whose voice carried a sweet, almost angelic quality. Handel composed numerous arias for this character, and Orliński delivered them with impeccable Baroque style and a beautiful, though somewhat uniform, timbre. While his performance was technically impeccable, there was limited emotional differentiation between the varying moods of the arias. In this production, Ottone is depicted as a dandy, perpetually concerned with keeping his hair perfectly styled, and Orliński’s was utterly irresistible in his interpretation.

Nahuel di Pierro’s resonant bass brought a commanding presence to the role of Emperor Claudio, while his lyrical moments, such as in “Vieni o cara,” were tender and effortlessly sustained. His portrayal was both committed and engaging, capturing the essence of a philandering husband blissfully unaware of his wife’s scheming.

Pallante and Narciso were portrayed by José Coca Loza, a robust bass with impressive projection, and Alois Mühlbacher, a countertenor with somewhat metallic high notes. Both singers excelled in their roles as Agrippina’s confidants and suitors. The cast was completed by Yannick Debus as Lesbo, Claudio’s servant, who delivered a strong performance even in this smaller role. His rendition of “Allegrezza, allegrezza” was particularly well-executed and precise.

Conductor Harry Bicket guided the orchestra La Scintilla in a dynamic and compelling interpretation of the score, always attentive to the needs of the singers. The continuo section was especially noteworthy, with Claudius Herrmann on cello, Azul Lima on archlute, and Enrico Maria Cacciari on harpsichord. While the orchestra’s sound occasionally came across as slightly dry or harsher than one might have preferred, the intonation was impeccable, and the energy of the performance was electrifying.

Spoiler alert!

Traditionally, Agrippina is portrayed as ruthless and ambitious, dominating the men around her. However, in this production, director Jetske Mijnssen took a slightly different approach. Amidst her scheming, Agrippina reveals moments of frustration at having to constantly appease and maneuver around the men in her life. Bonitatibus’ interpretation was masterful, subtly conveying this vulnerability. In the famous aria “Pensieri,” a reflection on her troubled mind, she wields a knife, leaving it ambiguous as to whom she intends to harm—perhaps even herself. During Nerone’s final aria, “Come nube,” a classic “furore” piece, Christophe Dumaux’s acting vividly portrayed the early signs of Nero’s madness, culminating in him nearly choking his mother to death.

The other female character, Poppea, is typically depicted as a sweet, lovestruck young woman devoted to Ottone. In this production, however, Mijnssen emphasized Poppea’s resentment at having to fend off the unwanted advances of multiple men and endure the possessive jealousy of the man she loves. In the scene where the men hide in various closets, her anger builds until, during the final love duet with Ottone, she reaches her breaking point and throws him out of the room in exasperation.

The production culminates in a stunning coup de théâtre. During the closing chorus, as everyone celebrates, Poppea poisons the champagne, and all the men collapse dead after drinking it. Meanwhile, Poppea and Agrippina, having overcome their rivalry, unite to triumph by eliminating the men who had controlled them. A powerful finale.