Seduce. Betray. Ascend. The tagline for Victorian Opera’s premiere of Elena Kats-Chernin’s version of Monteverdi’s The Coronation of Poppea not only alludes to the interwoven themes percolating through this more than 380-year-old work, but fairly summed up the experience at Tuesday’s opening night.
Be seduced by set and costume designer Anna Cordingley’s glossy and striking caryatid-bordered pantheonic space, lit with punchy theatricality by lighting designer Matt Scott, alongside musical and vocal artistry from a finely cast outfit.
Feel some sense of betrayal that Monteverdi’s long passages of skilfully fused mellifluous music and emotivity that define his work are upended. Then, let Kats-Chernin’s signature eclectic style work its magic, and eventually ascend with it to an elevated emotional state.
Presenting Kats-Chernin’s modernised, reimagined version – premiered almost 14 years ago at Komische Oper Berlin under Barrie Kosky’s tenure – is a risky venture and Victorian Opera are to be highly commended for taking up the challenge. For those who know Monteverdi’s work well, purists might be appalled but many will be delightfully impressed.
At its core, Poppea is a potent example of drama that simmers, boils, confronts and intrigues in its story of lust for power, sexual obsessions and ruthless dominance – part of a distorted account of the Roman emperor Nero’s (Samuel Dundas) abuse of position and blind pursuit of love for his mistress Poppea (Meechot Marrero).
Poppea’s ambitions of power infuriate the Empress Ottavia (Margaret Trubiano) who is gravely aware of the vulnerable position she is in and who counteracts with a scheme to have Poppea disposed of. Plots abound and, woven through, the goddesses Fortuna (Alessia Pintabona), Virtua (Amelia Wawrzon) and Amore (Mia Chenea Robinson) vie for supremacy – making a lovely trio of vocal sumptuousness.
Several factors that define Kats-Chernin’s uniquely fresh approach include the removal of repetitive sections of dialogue, the introduction of a carnivalesque array of musical style – hints of jazz, ragtime, tango and sprinkles of Disney-esque enchantment to name a few – and expanding the musical support around arias that grow naturally out of the dialogue.
In an adaption of the text and vocal lines by Alan Hicks, Giovanni Busenello’s libretto is sharpened and polished, resulting in a crystal clear narration that effortlessly untangles the complex relationships at play.
One particularly effective decision is dividing the three-act work into two parts, with the first concluding at the suicide of Nero’s venerable philosopher and advisor, Seneca (David Greco), and the second opening with a celebration of his departure. In such a way, attention feels especially drawn to the loss of reason when love takes hold. Amore is on her way to victory!
Under Sam Strong’s direction, the first part can feel like a stop-start affair up to Seneca’s suicide and Kats-Chernin’s often dense musical ramblings can occasionally jar the vocal lines. But the second part is pacey, directorially more sophisticated, and indeed revelatory.
The danger, desire and decadence of 1980s Miami in Brian De Palma’s classic film Scarface, starring Al Pacino, might be Strong’s inspiration – and it informs the production’s glitzy excesses in costumes. Better still, Cordingley’s visual pièce de résistance allows the glory of Ancient Rome to filter through with its reference to the Pantheon, although that marvel was built almost a century after Nero’s reign.
Experience shows in the cast, several of whom hale from Sydney’s Pinchgut Opera’s own production from 2017. Together with sexual self-assurance as Poppea, Marrero is as cute as a kitten as she plots her way to power, her radiant soprano breezily flowing through the music. Alongside Marrero, the imposingly physical Dundas is a perfect fit as leader, lover and protector, matching that with his suave and authoritative baritone.
Trubiano adds an admirably quirky plushness to proceedings as the rejected Ottavia and lets her rich mezzo-soprano rip in the second part. Greco’s midway departure as the philosophising Seneca removes a brilliant performer whose handsome, compelling baritone invites easy attention.
Increasingly proving to be a powerfully gifted bass-baritone sporting a warm legato, Jeremy Kleeman is an immediate standout as the unfortunate, manipulated Ottone, who remains in love with Poppea but ultimately settles for Drusilla, beautifully realised by the radiant, sweet-voiced soprano Rachael Joyce.
Douglas Kelly brings sympathetic warmth and fateful nuance to the messenger Liberto while emerging artists Louis Hurley and Bailey Montgomerie seem nurtured by the same school for servants as Poppea’s Arnalta and Ottavia’s Nutrice, their cheery campiness colouring the intrigues splendidly – Hurley deserving particular praise with his flexibly animated tenor and antics.
Conductor Chad Kelly brings pulsating energy and a sense of pride to a score he has personally reworked. Rousing to experience, the work is expertly electrified by the Victorian Opera Chamber Orchestra and their additional instruments, including castanets and maracas.
In the end, does Amore triumph? A golden glow and background downpour of metallic glitter says it all as Dundas and Marrero stand side by side singing their profoundly tender and beautiful duet Pur ti miro/Pur ti godo. Nero had secured his beauty and Poppea her position. Sadly, just two performances remain.
The Coronation of Poppea
Palais Theatre, Lower Esplanade, St Kilda
Performance: Tuesday 30 June 2026
Season continues to 4 July 2026
Bookings: www.ticketmaster.com.au
For more information, visit: www.victorianopera.com.au for details.
Images: Meechot Marrero, Samuel Dundas, Bailey Montgomerie, Louis Hurley, Jeremy Kleeman, Rachael Joyce and Margaret Trubiano – photo by Jeff Busby | Samuel Dundas and Meechot Marrero – photo by Jeff Busby | David Greco and Douglas Kelly with the Cast of The Coronation of Poppea – photo by Jeff Busby | Margaret Trubiano and Bailey Montgomerie – photo by Jeff Busby | Meechot Marrero and Samuel Dundas – photo by Jeff Busby