agrippina opera review

Royal Opera House; Linbury theatre, London; Leeds Grand Joyce DiDonato’s stop-at-nothing empress leads a top ensemble cast in Barrie Kosky’s enthralling Agrippina. ... Find The Metropolitan Opera on Instagram (opens new window) Find The Metropolitan Opera … Agrippina. The orchestra, usually a weak spot, was much improved, while the singing was, for the most part, first-rate. Synopsis: Agrippina Select a language to update the synopsis text. But it’s irresistible in its intelligence — and in the shamelessness it depicts with such clear yet understanding eyes. While Agrippina wants to dominate every man in the opera, almost every man in the opera wants to dominate Poppea. … Handel and his librettist, Vincent Grimani, knew that certain stories are timeless--like corruption … Danielle de … February 13, 2020 March 6, 2020 Peter Szep Review. Italian. Royal Opera House, LondonJoyce DiDonato gives one of her finest performances in Barrie Kosky’s witty and unnerving staging of Handel’s opera of political manipulation in ancient Rome, Last modified on Thu 26 Mar 2020 12.42 GMT. Ms. Hallenberg makes the most … Later, celebrating Agrippina’s ascendancy in Ogni Vento, she becomes a rock diva, singing with a microphone and playing to the gallery. Iestyn Davies, left, as Ottone and Brenda Rae as Poppea. Joyce DiDonato. 4.8 out of 5 stars. In the pit, the Orchestra of the Age of Enlightenment are on fine form for Maxim Emelyanychev, who conducts with terrific energy and panache. By Gregory Moomjy. Met titles In. Review: Agrippina 10:09, 3rd October 2019. Gianluca Buratto’s Claudio, younger than most and therefore a credible sexual threat to both Fagioli and Iestyn Davies’s Ottone, can be brutal in his attentions to Crowe, whereas Handel gives him expressions of affection that are deeply touching in their sincerity. REVIEW: Agrippina. George Frideric Handel. David McVicar’s production yanks the ancient Roman plot into the present day, with a golden staircase at the center leading to a golden throne. Twenty years later — with the production’s arrival at the Met, the addition of smartphones for onstage selfies and the relaxation of some aggressive late-’90s shoulder pads — the figures brought to mind by this tale of decadence and self-enrichment have inevitably changed. The Metropolitan Opera celebrated the opening of Handel's Agrippina February 6, marking the company's first production of one of the oldest works to hit its stage. And, of course, Handel. Agrippina: Opera Arias › Customer reviews; Customer reviews. Agrippina at the Royal Opera House features a parade of gowns worthy of any world-leading fashion week. Yet the relentless grasping after dominance that’s on display — as well as the mezzo-soprano Kate Lindsey’s gymnastically raunchy, coke-addled portrayal of Nero (Nerone, in the opera) — does evoke something of the riveted disorientation endemic to our time of, ahem, norm-breaking. He knows how to guide the company’s orchestral forces in a style that’s not its standard repertory, and the result is an appealing paradox: both beefy and lithe. ‘The ambitious are bound by no laws,” we are told in Agrippina, Handel’s brilliantly ambiguous comedy about political manipulation and chicanery, first performed in Venice in 1709, and widely regarded as the masterpiece of his Italian period, though he never revived it after he settled in London in 1712. (The genre isn’t known for dark comedy.) It was something of a scoop for the festival to engage the great … Review by Robert Thicknesse . ‘Eurydice’ and ‘Agrippina’ Reviews: Voices Lost and Found The myth of Orpheus told with mixed results in Los Angeles; political satire transported to a modern setting in New York. Link/Page Citation Glimmerglass Opera had a particularly strong season. The opera charts her attempts to secure the imperial succession for her son in opposition to the weak-willed Claudio, whose choice has fallen on the morally upright Otho. February 13, 2020 March 6, 2020 Peter Szep Review. Agrippina. For Rene Jacobs this presents treasure trove of interpretive possibility. The orchestra, usually a weak spot, was much improved, while the singing was, for the most part, first-rate. During intermission at the company premiere of Handel’s “Agrippina” on Thursday, I ran into an acquaintance in the lobby who said that he was enjoying the show. Her posture is ever so slightly stricken after she’s misled Claudius into decrying the faithful Otho as a traitor. And yes, I’ve heard of Mozart. Welcome to the Met, AGRIPPINA: It's about time. And as such, she kicks things off as a seemingly vapid and passive … My favorite part of every opera season might come as a surprise to you. Through March 7 at the Metropolitan Opera… But, according to my knowledge, none of the reviews mentioned the impressive Humphrey Bogart-like stage appearance (as well as the excellent harpsichord playing) of ENO music staff member Stephen Higgins. Buratto, attractive yet dangerous, sounds admirably sonorous over the role’s wide vocal range. Agrippina. Mr. Bicket has already led Handel’s “Rodelinda” and “Giulio Cesare” at the Met. It’s rare that we have a Royal Opera House premiere from a major composer. • At Royal Opera House, London, until 11 October. The textures have the glinting clarity of a Baroque ensemble, but also a richness that fills the huge house. “But of course,” he added, gesturing back toward the 3,800-seat theater, “it’s way too big.”. Handel’s biting Agrippina finally arrived at the Metropolitan Opera Thursday evening 310 years after its Venetian premiere. 2014 in review: opera. REVIEW: Agrippina. It may sound trivial to start with the costumes for Barrie Kosky's production, but these … Agrippina, wife of emperor Claudius, uses her cunning to install her son Nero on the throne at all costs. However, I will look again at this structure to see to what extent some compromise with the Opera project's preferred format is possible. Welcome to the Met, AGRIPPINA: It's about time. The set is a metal box that opens out into either a series of murky corridors of power where Joyce DiDonato’s formidable Agrippina plots and schemes, or a garishly lit apartment, where Handel collides with bedroom farce, as Lucy Crowe’s canny Poppea plays her lovers off against each other. When talk turns to whether the Metropolitan Opera should put on old works — like 1709 old — habits die hard. Opera and Classical Reviews. Ms. DiDonato plays — and sometimes overplays — Agrippina as a boozy harpy, almost stumbling as she walks and shimmying to the music in her head. into a deliciously bleak vision of our time, the Public Theater’s incendiary depiction. “‘Agrippina’ is a dark comedy about the corrupt leaders of ancient Rome, who lie and manipulate in their quest to stay in power,’’ Mr. Gelb said. To review students’ understanding of Handel’s Agrippina To encourage students to develop and express their opinions about Agrippina ’s story, music, and staging To inspire students to think critically about … Her highest notes pop into the theater. Photo: Marty Sohl/Met Opera. Agrippina. Link/Page Citation Glimmerglass Opera had a particularly strong season. This opera is cast in the form of opera seria generally, but diverges at times, leaving room for short ensembles and ariettes that do not stifle the drama. Agrippina, Royal Opera House, review: Joyce DiDonato triumphs in Barrie Kosky's vivid but heartless production 4. LONDON Agrippina Royal Opera House 9/23/19 B ARRIE KOSKY’S STAGING of Handel’s Agrippina , first seen in Munich in July, arrived at Covent Garden on September 23. The singing is often spectacular. Tweet. Opera Review ‘Eurydice’ and ‘Agrippina’ Reviews: Voices Lost and Found The myth of Orpheus told with mixed results in Los Angeles; political satire transported to a … In another debut, the countertenor Nicholas Tamagna was a brightly insinuating Narcissus (Narciso); the bass Matthew Rose was a convincingly bluff Claudius (Claudio). Agrippina at the Royal Opera House features a parade of gowns worthy of any world-leading fashion week. Thespis (opera) is the nearest we have at present to an opera featured article, and the structure used in Agrippina closely follows this. Some of it is too busy, however, and Kosky occasionally flies in the face of the score. So in 2000, when David McVicar first directed this “Agrippina” in Brussels, it made sense for him to update those reverberations — and to make them explicit, rather than the subtext. Forget ‘less is more’. Agrippina, written in 1709, is one of his best—despite its opera seria designation—and the Metropolitan Opera’s terrific new production, which opened Thursday night, showed that comedy remains an ideal … By Becky Black (Social Media Editor) Tuesday 24 September 2019, 9.38am Perhaps because he was all too aware that its subject, the ruthlessness of power and the legitimacy of rule, would hit raw nerves at a time when the Hanoverian succession to the Stuart dynasty was a matter of huge controversy and debate. She practically oozes across the stage, at one point singing an aria verse in a side plank position that made my abs hurt just watching it. Plus dizzying … Royal Opera House, London. Three centuries on, “Agrippina” remains bracing in its bitterness, with few glimmers of hope or virtue in the cynical darkness. No, its not opening night at The Met, nor is it the Richard Tucker gala. We were promised Agrippina as House of Cards, full of intrigue and political machinations, yet Barrie Kosky plays his joker frequently in a staging which borders on farce.On an austere set, he vividly brings Handel’s characters to life – sometimes as caricatures – as Agrippina schemes to manoeuvre her son, Nerone, to the throne. Agrippina, the Handel opera now premiering on the Metropolitan Opera’s stage, may have been written as a satire on the politics of its own time, but in the hands of producer Sir David McVicar, … It may sound trivial to start with the costumes for Barrie Kosky's production, but these expressions of personality are deeply woven into the production's thinking, and other characters overlook these power dresses at their peril. https://www.nytimes.com/2020/02/07/arts/music/met-opera-agrippina-review.html Read more opera reviews on theartsdesk The comic-grotesque manner he regularly espouses certainly suits the subject, but at times it wears thin: Agrippina is a serious comedy with a brilliantly ironic libretto, but now and again … Agrippina, Royal Opera review - carry on up the Campidoglio Vamping, stamping and men-babies on stage, a capricious beast in the pit by David Nice Tuesday, 24 September 2019 Joyce … Franco Fagioli’s Nerone, a tattooed psychopath in a hoodie, meanwhile, canvasses for support among the audience, which is identified as the Roman populace throughout. There was forward motion even in arias of slow loveliness; the dialogue crackled. Emma Southon likes to crack jokes, but most of all to spearhead a gender critic of ancient sources and historiography that I found extremely refreshing and interesting. By Christopher Corwin on February 07, 2020 at 12:36 PM All opera-lovers are encouraged to attend and experience—probably for the first time–a young composer’s vivid first masterpiece which revolves around the all-consuming compulsion for power and sex. As so often in Handel, power and desire are inextricably linked, and the narrative is a complex web of multiple deceptions as Agrippina seeks to exploit the private sexual configurations among those around her. Kosky’s setting may be modern but he resists the temptation to … The ending is unnerving, though Kosky omits a scene in which Juno hastily descends from Olympus to confer blessings on errant humanity below, and replaces it with music from L’Allegro, Il Penseroso ed Il Moderato. (Opera in Review) By Citroh, Paula. Iestyn Davies’s gentle-textured, oboe-like countertenor is perhaps lighter and blander than the female contralto Handel envisioned for Otho (Ottone), but he brought the first half of the production — which ends in the middle of the score’s second of three acts — to a mellow close with the stately despair of “Voi che udite.”. “Agrippina” was one of the major hits of the Met Opera’s 2019-20 season, with OperaWire’s review noting, “There is tremendous passion and attention to detail onstage (of which I didn’t even describe a sizable percentage) and is equally compelling for anyone witnessing it unfold. Joyce DiDonato is matchless in the title role, most other cast members likewise outstrip rivals and their vocal qualities are ideal for their dramatis personae.Conductor Maxim Emelyanychev repeatedly hits the sweet spot in his tempos, dynamics and realisations, the score aiming to mirror Handel’s lost original. The Metropolitan Opera celebrated the opening of Handel's Agrippina February 6, marking the company's first production of one of the oldest works to hit its stage. But a little lower down, her tone is vibrant and articulate, with a steely core. 4 / 5 stars . Modern audiences won’t want to sit for hours through parades of static arias and confusing plots. Magazine article Opera Canada. Flirtations and fragile alliances, lies, betrayals, schemes and the ever-present promise of sex – Love Island may be back on our screens next week, but it has nothing on Handel's Agrippina. Agrippina . Opera review: Agrippina at Royal Opera House. A list of the Agrippina coproducers—which includes Dutch National Opera… There is nothing overt about the president in this “Agrippina” — save, perhaps, a scene with a golf-playing emperor that actually dates back to Brussels. Yes, he died more than 250 years ago, but at the Met he seems more vital than ever. The orchestra, usually a weak spot, was much improved, while the singing was, for the … Bold, snicker-out-loud funny, magnetic and unsettling through its power-struggle convolutions, this production musically and dramatically fills the company’s looming proscenium. Pensieri, Voi Mi Tormentate, when the mask drops to reveal lacerating self-doubt, has tragic intensity. Barrie Kosky’s staging, a co-production with the Bavarian State Opera where it opened earlier this year, marks its first appearance at Covent Garden. Handel was lucky to get, in Vincenzo Grimani’s gleefully wicked text, that rarity in opera history: a libretto with dramatic focus, ambivalent characters and worldly humor. Her obstacles — sometimes co-opted as pawns — include the beautiful Poppea; the noble, lovelorn general Otho; and a couple of bumbling courtiers. 4 / 5 stars . (Opera in Review). Yes, he died more than 250 years ago, but at the Met he seems more vital than ever. Yet the characters began and ended the performance on plinths inscribed with their names: This was a staging antique and modern at once, with surreal touches of synchronized choreography, bits of slapstick and a central golden staircase rising to a golden throne, the prize everyone is climbing toward. 5 star 87% 4 star 7% 3 star 7% 2 star 0% (0%) 0% 1 star 0% (0%) 0% Agrippina: Opera Arias. Ransacking his own works — and the works of others — for melodies, he created an exuberant yet sensitive score, the characters slowing to express their true feelings before exploding once more into dazzling coloratura bursts of deception and double-dealing. Sung In. Photo: Marty Sohl/Met Opera. Article excerpt. That this “Agrippina” was nevertheless a success — indeed, a devilish delight — is because of Mr. Bicket and Mr. McVicar. Joyce DiDonato's Agrippina is a tour de force of vocalism in Barrie Kosky’s frenetic production of Handel’s dark ... 2011 in Review: Opera. But even then, the cast didn’t fully meet the virtuosic and sensual demands of this music. His Agrippina stalked the stage in a power suit; Nero was a slouching, sullen teenager; there was carousing at a stylish bar, complete with cocktail harpsichordist. But her voice is otherwise narrow and sometimes nearly inaudible. 22 global ratings. Through March 7 at the Metropolitan Opera, Lincoln Center; 212-362-6000, metopera.org. Murky corridors of power... Joyce DiDonato (Agrippina) and Andrea Mastroni (Pallante) in Agrippina at the Royal Opera House. Her coloratura is a joy to hear and watching her take charge of her character is a highlight of the opera. Through March 7 at the Metropolitan Opera, Lincoln Center; 212-362-6000, metopera.org. George Frideric Handel. Her aria “Pensieri, voi mi tormentate” is a commanding combination of lines dripping fire with floated high wires of sound. Further details here. Joyce DiDonato, left, in the title role and Kate Lindsey as Nerone in Handel’s “Agrippina” at the Metropolitan Opera. And yes, I’ve heard of Mozart. Flirtations and fragile alliances, lies, betrayals, schemes and the ever-present promise of sex – Love Island may be back on our screens next week, but it has nothing on Handel's Agrippina. Without being too blatant, this “Agrippina” does get at the emotional climate of a disruptive era, the clenched-jaw feeling you may well get as you wait for the New York Times app to load on your phone. And she offers tantalizing glimpses of Agrippina’s doubts. Yes, he died more than 250 years ago, but at the Met he seems more vital than ever. Video of the day: Joyce DiDonato and Kate Lindsey on Handel's Agrippina Wednesday, February 26, 2020 Joyce DiDonato and Kate Lindsey spare five precious minutes during the intermission of Handel's Agrippina at the Metropolitan Opera in New York to talk about the opera Joyce DiDonato. After a general sense of vocal unease in the first half, the performance seemed to settle in, gaining some confidence after intermission. Agrippina. Her final moment in the staging, wondering where her venality has finally brought her, shows her hilariously and poignantly unwilling to return to the annals of history — that is, to die. The final opera Handel wrote and produced for his time in Italy, Agrippinais a delicious piece depicting the eponymous character’s machinations to see her son Nero crowned Roman Emperor.Along the way, Agrippina strings along not just one but three lovers, playing them off each other in … That this “Agrippina” was nevertheless a success — indeed, a devilish delight — is because of Mr. Bicket and Mr. McVicar. ★★★★☆No 24-year-old wrote an opera with more ear-tickling musical riches than Handel poured into Agrippina. It’s clever, sharply observed and witty, if occasionally harder edged in tone than Handel intended. Fagioli’s metallic tone and rapid-fire coloratura, meanwhile, contrast sharply with Davies’s lyrical warmth and restraint. Sexual shenanigans, political skulduggery, black humour: Handel’s Agrippina has all the ingredients for a racy Barrie Kosky production. Written in haste and patched up with material drawn from existing works, Agrippina is Handel’s earliest complete surviving opera, first performed in Venice in 1707, five years before … However, I will look again at this structure to see to what extent some compromise with the Opera … Stream review of Agrippina (George Frideric Handel, Libretto by Vincenzio Grimani) from Met Opera on Demand at Metropolitan Opera House, New York - reviewer: Robert Tanitch Composer. Dramma per musica in three acts, music by George Frideric Handel, libretto attributed to Vincenzo Grimani, Orchestra of the Age of Enlightenment conducted by Maxim Emelyanychev, directed by Barrie Kosky, Royal Opera, Monday 23rd … So this new, international production of Handel’s early opera Agrippina, is an important event.. And though the convoluted plot of Roman back-stabbing requires concentration, it certainly is an opportunity for some world-class singing. Agrippina at the Royal Opera until 11 October; David Nice's Opera in Depth course at Pushkin House, Bloomsbury Square, starts again on 7 October with three Monday afternoons on Agrippina. Skittish Met board members fearing a reprise of the Public Theater’s incendiary depiction of a President Trump-like Julius Caesar being stabbed in a 2017 Shakespeare staging need not fear. English. Audience and press reviews of The Royal Opera's production of Handel's early operatic success, directed by Barrie Kosky. 2015 year in review: Opera. Agrippina featues unscrupulously ambitious political figures who act recklessly and an emotionally stunted would-be ruler. GRIPPING AGRIPPINA For a political comedy littered with slapstick, it’s fittingly ironic that this newest Met Opera take on Agrippina opens and bookends with morbidity: All the main players are … Written when its composer was just 24, his “Messiah” still three decades in the future, “Agrippina” shows Handel the precocious master. Agrippina . The singers were fearless on Thursday, but that’s not all they need to be. Thespis (opera) is the nearest we have at present to an opera featured article, and the structure used in Agrippina closely follows this. By Gregory Moomjy. Glimmerglass Opera had a particularly strong season. Agrippina – Handel. Agrippina English National Opera. Opera review: Agrippina at Royal Opera House. Agrippina’s would-be lovers, macho Pallante (Andrea Mastroni) and shy Narciso (Eric Jurenas), though at times marvellously funny, flap and fuss too much. Ms. Lindsey — groping herself and anyone she can get her hands on, her voice sometimes overwhelmed in fast passages but sly in moments of otherworldly softness — is an indelible caricature as Nero. When David McVicar’s updated production of Handel’s Agrippina appeared at Brussels’s La Monnaie 20 years ago, reviews likened the opera’s Roman elite to Margaret Thatcher and the Clintons. And, of course, Handel. Conducting from the harpsichord, Harry Bicket kept the pace crisp and headlong on Thursday; trimmed a bit, the score pressed forward as spiritedly as the characters’ pursuit of their selfish aims. Agrippina @ Barbican Hall, London 31 May 2019. by Sam Smith published: 3 Jun 2019 in Opera and Classical Reviews. Making her Met debut as Poppea, the soprano Brenda Rae proved herself a gifted physical comedian, in one memorable sequence tipsily trying — and failing — to hide behind a bouquet at the bar. Joyce DiDonato (Photo: Richard Young) The fact that Il Pomo d’Oro, directed from the harpsichord by Maxim Emelyanychev, presented a perfect staging of Agrippina would have been impressive enough I recently watched her in New York as Chiang Ch'ing in the Met's Nixon in … Spectacular singing ...Lucy Crowe (Poppea) and Franco Fagioli (Nerone) in Agrippina. If you’re Barrie Kosky, more is … e Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Read preview. Agrippina, Royal Opera House, review: Joyce DiDonato triumphs in Barrie Kosky's vivid but heartless production 4. In Boston Lyric Opera's production of Agrippina, Kathleen Kim elevates the role of Poppea. Three of the arias are from Handel's Agrippina, an opera receiving quite a bit of play over the past few years, but twelve other arias are recorded here for the first time. ★★★★☆No 24-year-old wrote an opera with more ear-tickling musical riches than Handel poured into Agrippina. Ulrike Schneider as Agrippina and Russell Harcourt as Nerone In Handel’s opera, written for Venice as part of his Grand Tour in 1709, the evil Imperatrix is shown endlessly scheming to get her beastly progeny onto the throne while simultaneously extracting him from the arms of the equally duplicitous Poppea. Librettist. This Agrippina jostles for top place among the opera’s complete recordings. Don’t get me wrong, I love those events. We were promised Agrippina as House of Cards, full of intrigue and political machinations, yet Barrie Kosky plays his joker frequently in a staging which borders on farce.On an austere set, he vividly brings Handel’s characters to life – sometimes as caricatures – as Agrippina … Composed for the 1709–10 Venice Carnevale season, the opera tells the story of … Seeing history from Agrippina’s … Crowe makes a lovely Poppea, but we’re also very aware of the streak of toughness that lurks behind her charm. A vivid new production yanks this story of political power grabbing from ancient Rome into the present day. 4.8 out of 5. But the audience at the premiere in Venice, for what turned out to be the first big hit of Handel’s career, would have known that the satire was directed at Grimani’s political enemies, including the pope, just as much as at the amorality of the ancients. The Coliseum, 1 March 2007 . That this “Agrippina” was nevertheless a success — indeed, a devilish delight — is because of Mr. Bicket and Mr. McVicar. by Review Roundups Feb. 8, 2020 In the Met's first-ever performances of Agrippina, Handel's satire of sex and power politics, Sir David McVicar reconceives a production he originally … The orchestral work is more consistently brilliant than the singing. Under pressure, the top of her voice can grow pinched and strident. Ms. Rae with another of Poppea’s suitors, Claudio (Matthew Rose). This “Agrippina” — yanked from ancient Rome into a deliciously bleak vision of our time, played with electric vividness, and starring a guns-blazing Joyce DiDonato — should put to rest, once and for all, the notion that Handel belongs at the Met less than Verdi, Puccini or Wagner. You don’t want to look; you can’t look away. The story is ostensibly about the Roman empress Agrippina’s ferocious machinations to get her husband, Claudius, to cede the throne to her vastly unqualified son, Nero. Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani.Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Agrippina was the wife of the emperor Claudius, and mother, by a previous marriage, to Nero. The opera focuses on succession in imperial Rome: Claudius’s consort, Agrippina, maneuvers to get her lout of a son Nero on the throne, and betrays lovers, friends, and subordinates to … Agrippina was the wife of the emperor Claudius, and mother, by a previous marriage, to Nero. Even by her own exacting standards, DiDonato gives one of her finest performances, wonderfully voiced and acted, and keeping us just the right side of empathy throughout. That first run made certain critics think of ruthless politicians of the then-recent past, like Margaret Thatcher and the Clintons. It’s begging to be enjoyed with a bag of popcorn — or with a martini packing some of the work’s frosty heat. My favorite part of every opera season might come as a surprise to you. This Agrippina is the first of a series of their productions to be made available online for streaming and is a most welcome one. And the best news? And, of course, Handel. Review of Agrippina. No, its not opening night at The Met, nor … The setting is ancient Rome. Imperial Rome is the backdrop for one of the composer’s most deliciously cynical comedies, where love is an afterthought and power is the only game in town. Opera review: Agrippina; Die Meistersinger von Nürnberg and Tannhäuser Barrie Kosky’s fine Agrippina is a taut drama of political intrigue and amorous advances Hugh Canning (Opera in Review). Review: The Met Opera Is Handel’s House in ‘Agrippina’. The story has been told for decades that intimate Baroque operas will vanish in the vast Met. Even in the early 1700s, this was recognized as a work with contemporary reverberations. Tone than Handel intended won ’ t look away London, until October. Political figures who act recklessly and an emotionally stunted would-be ruler ( Agrippina ) and Andrea Mastroni ( )... High wires of sound cast didn ’ t want to sit for hours through of! A surprise to you https: //www.nytimes.com/2020/02/07/arts/music/met-opera-agrippina-review.html Agrippina was the wife of the Opera, Lincoln Center ; 212-362-6000 metopera.org! Tone than Handel intended motion even in the Opera, almost every man in the cynical darkness comedy. look... 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