The Met: We’ll have Harry Bickett in charge of a period-size group. That should be both musically solid and sonically insufficient for the house. Joyce di Donato as Agrippina will navigate, as always, but this is a heavy load to carry. See my remarks on her Adalgisa [Nov. 10 and 24, 2017]; this is no less a demand. A female mezzo (Kate Lindsey) as Nerone, but a male falsettist (Iestyn Davies) as Ottone—a really strange juxtaposition. I have not heard Matthew Rose in sufficiently revealing music to predict the effect of his Claudio. McVicar’s production will be praised for its stab at “relevance” (the action reframed to “‘the present,’ where it should loudly resonate”—Met brochure) but chided for its conventionality. The brochure also refers to Claudio as a “weary emperor.” An ill-informed note, or is this telling us something? Forecast: this listing strongly suggests that if the Met is not already miking as a matter of routine, they will for this. Finally, I am eager to hear Brenda Rae (Poppea, house debut) of whom I’ve heard terrific credible reports. That’s if I go, of course.

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NEXT TIME: I’ll be dealing with one or two European contemporary operas we have not yet heard over here. Still mulling the choice. That will be four weeks from today, July 26.

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