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Agrippina Tickets

Metropolitan Opera, New York, USA
Important Info
Type: Opera
City: New York, USA
Duration: 3h 45min with 1 interval
Acts: 3
Intervals: 1
Sung in: Italian
Titles in: English,German,Spanish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
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Overview

Handel’s tale of intrigue and impropriety in ancient Rome receives its first Met performances, with star mezzo-soprano Joyce DiDonato as the controlling, power-hungry Agrippina and Harry Bicket conducting. Sir David McVicar’s production ingeniously reframes the action of this black comedy about the abuse of power to “the present,” where it should loudly resonate. The all-star cast features mezzo-soprano Kate Lindsey as Agrippina’s son and future emperor Nerone, soprano Brenda Rae as the seductive Poppea, countertenor Iestyn Davies as the ambitious officer Ottone, and bass Matthew Rose as the weary emperor Claudius.

This production was originally created by the Théâtre Royal de la Monnaie / De Munt Brussels and adapted by the Metropolitan Opera

Production a gift of Dunard Fund USA

History
Premiere of this production: 26 December 1709, Teatro San Giovanni Grisostomo

Agrippina 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. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.

Synopsis

Act 1

On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.

With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.

Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Act 2

Pallas and Narcissus realize that Agrippina has tricked them into supporting Nero and decide to have no more to do with her. Otho arrives, nervous about his forthcoming coronation ("Coronato il crin d'alloro"), followed by Agrippina, Nero and Poppaea, who have come to greet Claudius. All combine in a triumphal chorus ("Di timpani e trombe") as Claudius enters. Each in turns pays tribute to the Emperor, but Otho is coldly rebuffed as Claudius denounces him as a traitor. Otho is devastated and appeals to Agrippina, Poppaea, and Nero for support, but they all reject him, leaving him in bewilderment and despair ("Otton, qual portentoso fulmine" followed by "Voi che udite il mio lamento").

However, Poppaea is touched by her former beloved's grief, and wonders if he might not be innocent ("Bella pur nel mio diletto"). She devises a plan and when Otho approaches her, she pretends to talk in her sleep recounting what Agrippina has told her earlier. Otho, as she intended, overhears her and fiercely protests his innocence. He convinces Poppaea that Agrippina has deceived her. Poppaea swears revenge ("Ingannata una sol volta", alternate aria "Pur punir chi m'ha ingannata") but is distracted when Nero comes forward and declares his love for her. Meanwhile, Agrippina, having lost the support of Pallas and Narcissus, manages to convince Claudius that Otho is still plotting to take the throne. She advises Claudius that he should end Otho's ambitions once and for all by abdicating in favour of Nero. Claudius agrees, believing that this will enable him to win Poppaea.

Act 3

Poppaea now plans some deceit of her own, in an effort to divert Claudius's wrath from Otho with whom she has now reconciled. She hides Otho in her bedroom with instructions to listen carefully. Soon Nero arrives to press his love on her ("Coll'ardor del tuo bel core"), but she tricks him into hiding as well. Then Claudius enters; Poppaea tells him that he had earlier misunderstood her: it was not Otho but Nero who had ordered her to reject Claudius. To prove her point she asks Claudius to pretend to leave, then she summons Nero who, thinking Claudius has gone, resumes his passionate wooing of Poppaea. Claudius suddenly reappears and angrily dismisses the crestfallen Nero. After Claudius departs, Poppaea brings Otho out of hiding and the two express their everlasting love in separate arias.

At the palace, Nero tells Agrippina of his troubles and decides to renounce love for political ambition ("Come nube che fugge dal vento"). But Pallas and Narcissus have by now revealed Agrippina's original plot to Claudius, so that when Agrippina urges the Emperor to yield the throne to Nero, he accuses her of treachery. She then claims that her efforts to secure the throne for Nero had all along been a ruse to safeguard the throne for Claudius ("Se vuoi pace"). Claudius believes her; nevertheless, when Poppaea, Otho, and Nero arrive, Claudius announces that Nero and Poppaea will marry, and that Otho shall have the throne. No one is satisfied with this arrangement, as their desires have all changed, so Claudius in a spirit of reconciliation reverses his judgement, giving Poppaea to Otho and the throne to Nero. He then summons the goddess Juno, who descends to pronounce a general blessing ("V'accendano le tede i raggi delle stelle").

Act 1

On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.

With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.

Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Act 2

Pallas and Narcissus realize that Agrippina has tricked them into supporting Nero and decide to have no more to do with her. Otho arrives, nervous about his forthcoming coronation ("Coronato il crin d'alloro"), followed by Agrippina, Nero and Poppaea, who have come to greet Claudius. All combine in a triumphal chorus ("Di timpani e trombe") as Claudius enters. Each in turns pays tribute to the Emperor, but Otho is coldly rebuffed as Claudius denounces him as a traitor. Otho is devastated and appeals to Agrippina, Poppaea, and Nero for support, but they all reject him, leaving him in bewilderment and despair ("Otton, qual portentoso fulmine" followed by "Voi che udite il mio lamento").

However, Poppaea is touched by her former beloved's grief, and wonders if he might not be innocent ("Bella pur nel mio diletto"). She devises a plan and when Otho approaches her, she pretends to talk in her sleep recounting what Agrippina has told her earlier. Otho, as she intended, overhears her and fiercely protests his innocence. He convinces Poppaea that Agrippina has deceived her. Poppaea swears revenge ("Ingannata una sol volta", alternate aria "Pur punir chi m'ha ingannata") but is distracted when Nero comes forward and declares his love for her. Meanwhile, Agrippina, having lost the support of Pallas and Narcissus, manages to convince Claudius that Otho is still plotting to take the throne. She advises Claudius that he should end Otho's ambitions once and for all by abdicating in favour of Nero. Claudius agrees, believing that this will enable him to win Poppaea.

Act 3

Poppaea now plans some deceit of her own, in an effort to divert Claudius's wrath from Otho with whom she has now reconciled. She hides Otho in her bedroom with instructions to listen carefully. Soon Nero arrives to press his love on her ("Coll'ardor del tuo bel core"), but she tricks him into hiding as well. Then Claudius enters; Poppaea tells him that he had earlier misunderstood her: it was not Otho but Nero who had ordered her to reject Claudius. To prove her point she asks Claudius to pretend to leave, then she summons Nero who, thinking Claudius has gone, resumes his passionate wooing of Poppaea. Claudius suddenly reappears and angrily dismisses the crestfallen Nero. After Claudius departs, Poppaea brings Otho out of hiding and the two express their everlasting love in separate arias.

At the palace, Nero tells Agrippina of his troubles and decides to renounce love for political ambition ("Come nube che fugge dal vento"). But Pallas and Narcissus have by now revealed Agrippina's original plot to Claudius, so that when Agrippina urges the Emperor to yield the throne to Nero, he accuses her of treachery. She then claims that her efforts to secure the throne for Nero had all along been a ruse to safeguard the throne for Claudius ("Se vuoi pace"). Claudius believes her; nevertheless, when Poppaea, Otho, and Nero arrive, Claudius announces that Nero and Poppaea will marry, and that Otho shall have the throne. No one is satisfied with this arrangement, as their desires have all changed, so Claudius in a spirit of reconciliation reverses his judgement, giving Poppaea to Otho and the throne to Nero. He then summons the goddess Juno, who descends to pronounce a general blessing ("V'accendano le tede i raggi delle stelle").

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Duration: 3h 45min with 1 interval
Acts: 3
Intervals: 1
Sung in: Italian
Titles in: English,German,Spanish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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