➤ AGRIPPINA, from p.36
nabe punk bad boy posturing.
Lindsey acts with her entire slender
body but McVicar overdid the
crude crotch-grabbing shtick. Lindsey’s
lean and bright mezzo sliced
into her music with focused dark
tones and agility. However, Nerone’s
fl orid fi nal aria “Come nube
che fugge dal vento” was upstaged
by Lindsey cutting and snorting a
huge bag of cocaine resulting in
skating over the sixteenth notes.
The character of Otho (Ottone),
originally written for a female
contralto, is the one sincere and
genuinely good character in the
opera. Countertenor Iestyn Davies
possesses a plangent and lyrical
sound well-suited to Ottone’s
refl ective and long-lined adagio
arias, but less so to the fl orid allegro
showpieces.
As the foolish and lust-driven
Emperor Claudius (Claudio), bass
Matthew Rose is as usual a stalwartly
imposing voice and presence
but blustered unstylishly in
his solos.
As a Roman general seduced by
Agrippina into becoming her coconspirator,
handsome Scottish
baritone Duncan Rock pleased the
eye but not the ear — his dry and
grainy tone underwhelmed.
As her other stooge, countertenor
Nicholas Tamagna in his Met
debut proved a fi nd — a focused
tone with presence and color and a
droll comic actor.
Harry Bicket is the Met’s go-to
conductor for classical and baroque
repertory and managed to get feasible
period style out of a modern
big-house opera orchestra. Aided
by baroque specialist instrumentalists
Daniel Swenberg and John
Lenti on theorbo and guitar, Bicket
and members of the Met orchestra
highlighted musical contrast and
rhythm to dramatize the story.
Though I found McVicar’s bag
of tricks tiresome after a while,
the opening night audience ate it
up, laughing and applauding enthusiastically
throughout. So, as
always, “Agrippina” triumphed in
the end overcoming all the machinations
against her.
Catch “Agrippina” live in HD in movie
theaters worldwide on Saturday
February 29 at 12:55 p.m. EST.
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