Dominique Visse

Francesco Cavalli, a natural successor to Monteverdi, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the ‘Sun King’ Louis XIV and the Infanta of Spain. Ercole amante (‘Hercules in Love’) was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.

Francesco Cavalli's incandescent opera, where tragedy rubs shoulders with comedy, and burlesque alternates with deep emotion. Max Emanuel Cenčić directs a lively production, drawing on the codes of commedia dell'arte. This game of love and chance combines passion, betrayal, and power struggles. The countertenor takes on the title role, while Leonardo García Alarcón conducts the Cappella Mediterranea.

A ruthless dictator falls in love with a sexy woman. Together, they get rid of every obstacle in their way: his wife, her former lover, and also the voice of reason. Everything is sacrificed to passion, in this tale where evil triumphs, virtue and reason are humiliated, and nothing corresponds to our moral principles. Jan Lauwers, the director and choreographer, sets L'incoronazione di Poppea in a way congenial to his means: a visual artist, he translated the emotions expressed by Monteverdi’s music into dancing and visual images. The result was mixed; the general impression was one of many ideas, seemingly not fully developed or analysed. The stage was constantly cluttered with moving bodies, or tableau vivants, leaving a sense of confusion, and distracting from the music.