“l’incoronazione di Poppea ” thrills with a gripping plot with people of flesh and blood. It is the masterpiece of the early Baroque and Monteverdi presents himself as a mature master and innovative creator who significantly influenced the history of opera with this “dramma per musica”. Even today, the final duet moves the hearts of listeners.
Poppea wraps Nero around her finger
The first part of this scene is written in the declamatory style of “recitar cantando”. Gradually the piece enlivens, giving the (castrato) tenor a chance to shine with beautiful ornamentation beginning at 6:45 and Poppea a chance to languish gloriously at 7:15 (“Tornerai”). Monteverdi describes the unvarnished sexual allure, which he underscored with a low-pitched voice of Poppea in this scene.
Signor, deh, no partire … Non temer
Arnalta’s enchanting lullaby
We hear from Poppea’s travesty Amme the enchanting lullaby “Oblivion soave” with a delicate accompaniment by the orchestra.
Oblivion soave – Gonzalez
The heavenly final duet “Pur ti miro, pur ti godo”
Monteverdi closes this opera with a beautiful duet full of love feelings and eroticism. The voices of Poppea and Nero literally entwine, follow each other, demand each other and are conducted in close distance.
The piece was not included in the original version of Busenello’s libretto. Monteverdi composed it afterwards (there are even opinions that claim it did not come from Monteverdi himself).
We hear a heavenly recording, indulgent in slower tempos with eroticism that sizzles:
Pur ti miro, pur ti godo – Cencic / Yoncheva.
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