Now Carsen: His Agrippina will also help Poppea dress for the occasion! In trying to solve these scenes, I’m not against stealing an idea. But don’t make it worse! And Carsen does. In his version, Agrippina’s minions bring in boxes, rackfuls, of dresses, shoes, and accessories, and the scene is filled to the brim with picking-and-choosing busyness on a fashion motif. Now the aria’s event isn’t convincing Poppea of Agrippina’s love and support, but shopping for the next item. The characters are in touch only on the most superficial plane.

These parts will have to stand for the whole. I assure you that they are representative. And so far as the acting is concerned, I fully credit Hampe’s performers (even Claudio’s servant, Lesbo, is a welcome presence here, in the hands of the practiced Carlos Feller) and attach no blame to Carsen’s. Once in a while, to double-check that being maddened is not the same as going mad, I like to run something by my wife, an actress with an eye for craft. I showed her the two versions of “Non ho che per amarti.” Of course, we are on a wavelength, so I was not at all surprised that she despised the Carsen version, and enjoyed and admired Hampe’s. “But,” she said, “they [Carsen’s performers] could also have done that [Hampe’s staging]. They’re talented, too.” Right.

And to Carsen’s surprise ending: first, the happy final ensemble, “Lieto il Tebro increspi l’onda,” turns into a debauch. That’s predictable enough. Then, at a signal from Nerone, the minions in their dark suits step forth and, in about five seconds, knock off the whole team of rivals, including his mother, with Arditti letting out an imitation-Richard-Widmark howl that momentarily uncovers his male sound. The March of the Falsettos is Triumphant! The impotent-sounding boy had this in mind from the start! I must admit it’s a coup, and that like all coups, whether of the theatre or of real-life politics, has in retrospect had some preparation. Such things work only once, but that is enough for the audience at the little old Theater an der Wien to scream its collective head off. Maybe you’ll feel it redeems the three hours.

A few notes on matters musical and vocal, but briefly, since I’m already on overtime:

Hagenbrock/Östman: I’ve already characterized the former’s reading. It is certainly well played, scores its points, and is generally a good fit with its production. Östman’s is gentler and lovelier, not always as sharp in ensemble, and also well paired with its staging. It captures the dancey lilt of some numbers better than Hagenbrock’s, and its air smells sweeter.

Agrippina: Daniels has a lush, warm soprano, good technical command, and an appealing vocal personality that I think is right for the interpretive path chosen—which I also think is the (or at least a) right interpretive path. She might have been even more effective at modern concert pitch. Bardon has a full, authoritative mezzo sound and more than gets around the many florid passages. Her recitatives are oversung and unsubtle, but that goes with her territory.