La Fortuna - soprano
La Virtù - soprano
Amore - soprano
Poppea - soprano
Nerone - soprano
Ottavia - soprano
Ottone - mezzo-soprano
Drusilla - soprano
Nutrice - mezzo-soprano
Arnalta - mezzo-soprano
Pallade - soprano
Venere - soprano
Famigliari Prima - mezzo-soprano
Valletto - soprano
Damigella - soprano
Soldato Primo / Famiglari Secondo / Lucano - tenor
Soldato Secondo / Console / Liberto Capitano - tenor
Mercurio / Tribuno / Famiglari Terzo - bass
Seneca / Littore - bass
BOA is proud to present it's season with L'incoronazione di Poppea - a musically rich opera by Claudio Monteverdi
This is a perfect opera for younger singers, it's instantly employable, performed throughout Germany, and the opera offers a fine balance of all aspects of the program.
Two versions of the musical score of L'incoronazione exist, both from the 1650s. The first was rediscovered in Venice in 1888, the second in Naples in 1930. The Naples score is linked to the revival of the opera in that city in 1651. Both scores contain essentially the same music, though each differs from the printed libretto and has unique additions and omissions. In each score the vocal lines are shown with basso continuo accompaniment; the instrumental sections are written in three parts in the Venice score, four parts in the Naples version, without in either case specifying the instruments. The work helped to redefine the boundaries of theatrical music and established Monteverdi as the leading musical dramatist of his time.
L'incoronazione di Poppea was first performed at the Teatro Santi Giovanni e Paolo, Venice, as part of the 1642–43 carnival season. The date of the first performance of L'incoronazione and the number of times the work was performed are unknown; the only date recorded is that of the beginning of the carnival, 26 December 1642. A surviving scenario, or synopsis, prepared for the first performances, gives neither the date nor the composer's name. The identity of only one of the première cast is known for certain: Anna Renzi, who played Ottavia. Renzi, in her early twenties, is described by Ringer as "opera's first prima donna".