Monteverdi: Poppea
HGO, Seb Gillot, Ashley Pearson
Jacksons Lane. 15 November 2025

Monteverdi’s L’incoronazione di Poppea explores themes of power, ambition, greed, intrigue, toxic relationships, vengeance, moral decadence and, viewed with modern eyes: mental health. Busenello’s libretto adopted a relaxed approach to historical facts in a manner that would likely result in several lawsuits if the protagonists were still alive to launch them. The events of seven years are compressed into a single day’s action and the characters are adapted to suit the plot. which, shorn of direct historical relevance, allows a focus on the characters and their interaction with each other. Much about the opera is conjecture, including how much of it was actually composed by Monteverdi. It was his last opera, and was first performed in Venice shortly before his death in November 1643. A revival in Naples in 1651 was the last known performance until the late 19th century. It is now considered as one of the most important 17th-century operas. Following HGO’s well-reviewed 2017 production, this was a new staging, directed by Ashley Pearson with musical direction from Seb Gillot.

Theano Papadakim, Poppea & Hera Protopapas, Nerone 

HGO productions are aimed at providing opportunities for young musicians, many of them recent graduates or approaching the end of their courses, an opportunity for performance experience with twice-yearly productions that encourage impressive audiences through sensible prices. They usually double-cast their operas, giving more people the chance to perform. I attended on the penultimate night of the run, with the cast listed first in the programme, although I don’t think there is any hierarchy between the two casts. Most singers were singing two different roles on different evenings, a test of their memories if nothing else. There were sixteen singers covering all the roles and the ensemble, the principal singers being Harriet Cameron, Jasmine Flicker, Clover Kayne, Henry Kimber, Betty Makharinsky, Theano Papadaki, Louis Pettit, Hera Protopapas, and Henry Saywell.

Hera Protopapas, Nerone & Theano Papadakim, Poppea

Director Ashley Pearson’s light-touch, minimalist production left the story to unfold according to the libretto and the music, with little interference or imposed themes. Set in a broadly 1980s setting, but with a neat mixture of contemporary and historical references, the lighting and costumes, by Sofia Alexiadou and Alice Carroll, helped to create an atmosphere that helped viewers involve themselves in the personalities portrayed.

The singing was generally excellent, with impressive understanding of period ornamentation and vocal styles, although a few singers had yet to gain experience of reining in their vibrato, essential to portray the vocal purity of music of this period. The acting was also top-notch from all, from the leading lights to the ensemble, involved in background tasks and scene changing. Three singers stood out from the cast, including Theano Papadaki as Poppea, her seductively beautiful voice masking her ruthless ambition. Hera Protopapas excelled as a boyish Nerone, the clarity of her mezzo voice have much of the tonal quality of a boy treble. Jasmine Flicker also impressed as Drusilla, both through the exquisite quality of her voice, and her ability to act the complex role. .

Jasmine Flicker, Drusilla

The instrumentalists were inevitably far fewer in number than Monteverdi might have imagined, but produced a very effective sound, notably the continuo group of Kristiina Watt, theorbo & guitar, Kate Conway, viola da gamba, Gloria Rappo, harp, and musical director Seb Gillot, playing harpsichord and organ. A pair of violins, viola and bass added to the insrumental forces.

HGOAntiqua Orchestra

I always find it hard, when listening to the famous final Pur ti miro love duet between Nerone and Poppea, not to be reminded of the chilling story of the historic Nero and Poppaea Sabina in the period just after that covered by the opera.

Production photos by Julian Gudiera