It is a popular saying in theater that "dying is easy, comedy is hard." In Boston Lyric Opera's (BLO) "Agrippina," the actors have to do both. Fortunately for audiences, they do it well.
The opera is one of composer George Frideric Handel's firsts and often considered one of his best. The baroque composer is known for putting music above plot and libretto — his operas sometimes nonsensically pair a story with a piece of music simply to showcase his work and the incredibly acrobatic and impressive vocals he puts his singers through.
"Agrippina," however, is incredibly plot−driven, and the libretto is just as rewarding as the accompanying music.
BLO's production offers stunning visuals, tightly polished music and hysterical comedy. Despite its legendary and epic characters, "Agrippina" is essentially a bedroom farce that is saved from banality by a satiric, dark twist.
The plot, minus all its twists and turns, is this: Agrippina, the mother of Nerone, does everything in her power to put her son on the throne.
The twists and turns along the way make the opera intensely enjoyable.
True to its status as a comedic opera, director Lillian Groag has included physical comedy and little quirks and jokes to great effect.
It is a somewhat anachronistic production. One could place it roughly in the 1930s, but masked servants appear in attire more fitting with Handel's own 18th−century garb. The playful costumes and modernizations serve to suit the show's humor to a modern audience and almost never cheapen the product itself. There may be some cheap laughs in the stage direction, but on the whole it is a very self−aware production — any liberties taken are done out of love, and an overall feeling of great respect for the piece remains.
The production — imported by BLO from Glimmerglass opera — is beautiful not only to hear but also to see. John Conklin's simple and bold sets, Jess Goldstein's whimsical yet appropriate costumes and Robert Wierzel's cerebral and effective lighting all combine to display cinematic visuals over fine−tuned baroque music. Indeed, much of the production feels a little borrowed from the cinema: Some of the slapstick, particularly in the bedroom scenes, is reminiscent of the antics seen in musical comedies such as "Top Hat" (1935) or "Singin' in the Rain" (1952).
Though "Agrippina" is a very physical production, it is certainly apparent that it has been directed by someone who knows what it's like to be directed. Groag's experience directing straight plays are clear in her effective and humorous additions, but it is also evident that she does not demand too much of her actors. The singers are asked to be more physical than one usually sees in an opera, but they are not put upon to be impossibly so. Instead, they are challenged to give a complete performance rather than rely on beautiful vocals and musicality alone.
Groag also knows when to rein in the humor in deference to moments of poignancy. One of the best moments was in fact not comical at all. Act two's second aria, "Voi che udite il mio lamento," features the good−hearted General Ottone (Anthony Roth Costanzo) as he despairs that he has lost everything and does not know why. Ottone's tragedy, sung and acted with energy and wonderful attention to detail by countertenor Costanzo, is delivered with palpable feeling and cleverly restrained stage direction.
Emotionally gripping scenes, as well as Handel's wicked little runs, are mercifully left, for the most part, without gimmicks. Caroline Worra, who plays the titular mother, is most notably adept at these complicated, difficult and incredibly fun−to−hear musical moments. Her commanding soprano and delicate trills fit the demanding role perfectly, and she delivers difficult arias such as "Pensieri, voi mi tormentate," which the character deftly and expertly sings during her "mad scene."
"Agrippina" is a funny little show — very darkly comic and not widely known. An extreme amount of care has gone into the creation of this production, though, and the result is something innovative and deeply enjoyable. For practiced opera−goers and newcomers alike, Boston Lyric Opera's "Agrippina" is an appropriate and worthwhile production to make time to see.
