To me, Monteverdi's The Coronation of Poppea is the ultimate prequel. Although not the first extant opera, this circa 1650 work, more than any other early example, contains within its elegant score and eventful libretto nearly all the seeds of the art form's eventual development. I'll always think of it as the origin of the species.
Stagings don't come around every day, certainly not in Baltimore, so Opera Vivente's mostly respectable production of Poppea commands attention.
On Friday night in the hall of Emmanuel Episcopal Church, a smooth, stylish foundation for the performance was provided by the period-instrument ensemble Harmonious Blacksmith, sensitively led by Joseph Gascho.
As Nero, male soprano David Korn was most persuasive midrange, when the sound was firm and vibrant. He tended to turn strident and effortful at the top, but maintained a stylish delivery throughout. Although there were times when more confident acting would have been helpful, Korn's boyish looks played up the spoiled, immature side of Nero.
Ah Hong, as the subtly conniving Poppea, offered a gently gleaming tone, incisive phrasing and persuasive acting. As Ottone, Monica Reinagel used her burnished contralto to eloquent effect. Katherine Drago, as Nero's out-of-favor wife, Ottavia, proved effective, though I wish she had dug more deeply into the character's farewell aria. Lisa Dodson, as the Ottone-smitten Drusilla, sang charmingly.
Jed Springfield sounded a bit worn around the edges and not always on pitch, but he shaped phrases with a gravity that caught the nobility of Seneca. Karim Sulayman camped it up mightily as the nurse Arnalta (drag roles were a niche thing in baroque opera); his singing didn't always measure up, but he sure delivered the comic relief.
Ryan de Ryke sang with his usual expressive depth as Mercury, but was called on to strike silly poses in a gravely beautiful scene - one of director John Bowen's few missteps.
Those in other supporting roles ranged from proficient to passable to seriously amateurish, the latter posing a threat to Opera Vivente's reputation.
Thom Bumblauskas designed a simple set that enabled the action to move along neatly. The costumes, designed by Jennifer Tardiff, could have used a bit more style, at least for Nero and the other upper-crusties.
