Name: PoppeaAlcina
Start: 2017-11-01T00:00:00.000Z
End: 2017-11-05T00:00:00.000Z
Location: Staatsoper

Artist

Admin

Staatsoper Hamburg

Hochschule für Musik und Theater Hamburg

Conductor

Justus Tennie

Stage director

Mien Bogaert

Set designer

Florian Parkitny

Dramaturge

Pia-Rabea Vornholt

Countertenor

Joël Vuik

Nerone

Soprano

Judith Österreicher

Poppea

Ascelina Klee

Ottavia

Tenor

Masanori Hatsuse

Liberto

Il valletto

Bass

Immanuel Klein

Seneca

Lucano

Costume designer

Musikalische Assistenz

Simon Obermeier

Regieassistenz

Alma Gentile

Bühnenmalerei

Winston Ziller

Singer

Franziska Buchner

Famigliari

Tom Kessler

Moritz Vieth

Mostafa Ahmadi

Statisterie

Ingmar Grapenbrade

Paul-Louis Lelièvre

Torsten Mendach

Johann Jacob Nissen

Theorbe

Truhenorgel

Mascha Zippel

Geige Erste

Geraldine Galka

Geige Zweite

Luise Catenhusen

Flöte Erste

Narumi Ogami

Flöte Zweite

Kamil Berkay Olgun

Viola

Bärbel Hartrumpf

Cello

Jonas Hensell

Kontrabass

Naho Higuchi

Harfe

Cembalo

Yona Kim

Betreuung regie

Angela Beuerle

Betreuung Dramaturgie

италиански

Cristian Damir Martinez Vega

Poppea/Alcina

Hamburg

Germany

Staatsoper

Opera stabile

Poppea/Alcina: L'incoronazione di Poppea (reduction) Monteverdi

Private

Public

The Coronation of Poppea (reduction)

MIEN BOGAERT

немски

Approved

Monteverdi’s last opera dramatizes the conflict between the Roman emperor Nero and the Stoic philosopher Seneca. He criticizes Nero’s disregarding behaviour towards his wife Ottavia and warns him not to flirt with the younger Poppea. Nero turns a deaf ear to these accusations and settles the case by forcing Seneca to commit suicide. The only thing that prevents him from marrying Poppea is the presence of Ottavia … A problem that can be solved.

Mien Bogaert interpreted Seneca as an Andy Warhol-like character: “both men identify as an artist and a philosopher, both men were nothing at the start of their lives but quickly managed to get to the top of the society, both men were fascinated by an unreachable woman: Ottavia and Marilyn Monroe”. Warhol considered his art a mirror of society and had a strong dislike for political statements. In his silk screen paintings, he sheds light on the drawbacks of the life of a star like Marilyn Monroe. His reproductions turned her into an icon. At the same time, the troubled personality of Marilyn Monroe disappeared behind the fiction of public appearance. In Mien Bogaert’s staging of L’incoronazione di Poppea, Seneca and Ottavia experience a similar conflict. Ottavia’s remaining silent and looking on passively ends in isolation and death. At the end of the opera, when reason is replaced by arbitrary violence, the question arises if the intelligentsia – and its art – could have prevented a political disaster like Nero. Or did the intelligentsia with its behaviour just trigger events like Nero’s rise to power?

English

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