Claudio Monteverdis opera The Corronation of Poppea had its premiere in the new operahouse of Oslos wednesday 23. October 2009 in a very beautiful and well functioning production staged by Ole Anders Tandberg.

The Music og Monteverdi is reviced and worked to the score by Alessandro de Marchi, who too had the musical direction and him self was playing the following recitativs from the one cembalo. It was a pleasure to listen to how he did this great job, specially, when we do know that he is improvising out from the one base tunes written, in fact in the same way as he is doing when he is improvising, when he is playing jazz, just that here it is classical, baroque music, therefore it was enlightning when we got a small Ella Fitzgerald tune for some seconds, Massimiliano Toni followed cosely up at the other cembalo, in addition to that he was taking care of spinett, regale and organ.

The scenography, which surrounded all the performance was designed by Erlend Birkeland, and it gave a good frame and many posibilityes for the whole performance, in addition to that it was beautiful, furmer it gave the lightdesigner Ellen Ruge many posibilities, as she used in all the moments she could.

The costum design by Maria Geber, from our days, but including a few details, who gave us a feeling of how it could have been many years ago, suited the performance well, and that it has been brought up to our days was not a problem to understand the history. Of course there was a lot of blood like red colour, but it was like that at that time, and here it is eleganglyt used as visual effects. It must be a big job for the costume departement to wash all these costumes, or parts of them after every performance! But the effecys for the performance was great.

The singing company was great. As I appreciate good countertenors, it was a privillige to listen to Jacek Laszcskowski as Nero, brilliant singing, with many variations in his voice and the voice was beautiful, furthermore Tim Mead as a very handsome Ottone. In addition, not to forget Arnalta, Poppeas amme, sung by Emiliiano Gonzales Toro, all of them also showed that they are very handsome gentlemens, and that they can play comedy and tragedy, up to where we are in the performance. Well expect Arnalta, who shall be a women, but did the women/drag role very well, and was singing well.

At the womens side, we very much enjoyed Birgitte Christensen as Poppea, sexy, so every one can understand why Nero falled in love/sex with her. As usual, very well singing, many parts were extraordinary. As her counterpart the Empress Ottavia, Hege Høisæter, as wonderful “hysterical dramatic” mezzosoprano, which, I am sorry to say, I do understand that Nero was being amazed by Poppea, and that is ecxactly what is in the role of Ottavia. I loved her madnes and reactions, Hege Høisæter is performing and singing a fantastic role.

Tone Kruse is a brilliant alto, and she is not afraid of playing comedy, and showing all the ironic details which her role demands, I am happy I dont meet her at a dark night, as she was cutting hard Cucumbers very acitive. In addition she has the right glimps in her eyes for such a demanding role.

Marita Sølberg is beautiful as u and Drusilla. This young talented soprano, whoch we have folloved since she was winning the Queen Sonja singing competizion, I am happy to say, is being better and better, In this role she is showing new artistic sides of her self in her acting,and combined with her beautiful voice in this difficult repertoire, it is functioning very well. It wa in deed a pleasure to listen to. That her costume as Drusilla is perfect to the time, maked every thing perfect.

Amelie Aldenheim was a new face to me. A face, and a voice that I would like to hear many times again, she was good as Amore and Damigella. As Fortuna we enjoyed Ina Kringlebotn.

It is not often we in Oslo hear such a brilliant bass as Gregory Reinhardt, we want him back in other roles, please! I want to give a big compliment to operachief Paul Curran and to his good assistant Anne Gjevang for a brilliant casting and a good combination of outstanding foreign and norwegian singers.

In addition we enjoyd David Fiedler, Magnus Staveland, Ole Jørgen Kristiansen and Rolf Magne Schmidt Asser in different roles.

The orchestra with many original baroque instruments and many if the most outstanding usicians in Europe on their special instruments, in combination with great musicians form teh Norwegian opera orchastra was well composed and worked very well. Some not nice tunes, some where in the horns. It is good to prepare well at home before coming to a performance, as others are doing, when they are coming for a job!!! Then we, the audience and the colleagues, are being impressed by good music!

The translation that we read on the sreens was good made by Live Hov. The beautiful program gave an interesting introduction to all the opera and its history.