Jakub Józef Orliński on the opera stage in Zurich – by Marzena Mikosz
The head of the family and corporation owner is fighting for his life in the hospital. At home, in their New York apartment, his wife is plotting how to place her son in the CEO’s chair. The PR department is involved, along with the sycophants, and… everything gets complicated when he returns healthy, though not in full strength, accompanied by the successor he has appointed. Sounds like the plot of the TV series “Succession?” No, it’s Georg Friedrich Händel’s “Agrippina,” staged at the Zurich Opera in March.
The Zurich Opera House, Switzerland’s most important opera venue, seats over one thousand spectators. Some of the most recognizable singers regularly perform here, including Cecilia Bartoli, Jonas Kaufmann, Javier Camarena, alongside Polish artists Piotr Beczała and Agnieszka Rehlis. Baroque operas are regularly performed as well. Lovers of this musical period can even purchase a “Barock-Abo,” which includes four to five productions per season. The program features well-known scores including Handel’s “Alcina,” “The Coronation of Poppea,” or Monteverdi’s” Orfeo,” as well as lesser-known works, such as Handel’s “Belshazzar” or Cavalli’s “Eliogabalo.” The excellent La Scintilla orchestra who cultivate historical performance practice are also based at the Zurich Opera. Their collaborations include recognized conductors, such as Giovanni Antonini, the founder of Il Giardino Armonico, Riccardo Minasi, and Ottavio Dantone. The staging of “Agrippina” has thus been only a matter of time.
As the Dutch director Jetske Mijnssen observed, the story of Agrippina could easily serve as the basis for a popular TV series about the struggles of the Roy family. The title character is the wife of the Roman emperor Claudio. When she receives news of her husband’s death, she wastes no time in ensuring that her son Nerone succeeds him. With the help of Pallante and Narciso, she weaves a conspiracy, which is interrupted by the triumphant return of Claudio. The Roman emperor has promised the imperial crown to his rescuer Ottone. What’s more he has brought Poppea along, and Claudio, Ottone, and Nero all fall in love with her. Despite the changing situation, Agrippina continues to weave her intrigues but faces a rival who cools her passion. Ultimately, by Claudios’s decision, Poppea is promised to Ottone, and Rome to Nerone.
Zurich’s “Agrippina,” with Anna Bonitatibus in the title role, navigates the drawing rooms of empty small talk and false smiles with great skill. Poppea, played by Lea Desandre, is a nurse who gets her first opportunity to see the life of the establishment, and she is very taken with the glamour, power, and carefree elitism. The power struggle between the two women takes center stage, while the men — Nerone (Christophe Dumaux), Ottone (Jakub Józef Orliński), and Claudio (Nahuel di Piero) — are mere pawns on their chessboard. The men’s apparent power is undermined by their individual personality traits; the hedonistic Claudio must confront the quickly igniting and just as quickly calming down Nerone. Ottone is a bit more steady, but even he loses his sense in the spotlight and in front of the camera. The women, despite their plots being discovered, continue their game with consistency. Which woman wins? The ending is surprising. According to the libretto, Claudio hands power over to Nerone and allows Ottone to love Poppea. They all raise a toast, which turns out to be their last. Only the nurse Poppea remains on stage.
The audience are having a great time, among other things, counting how many times Orliński fixes his hair, a gesture he does not forget even during intimate scenes with Poppea. The Polish countertenor does not dance this time, but the colour of his voice and his acting skills have been very warmly received. Special mention goes to the orchestra, conducted by Harry Bicket.
For Orliński, this is not his first “Agrippina.” Shortly after his graduation from the Fryderyk Chopin University of Music in Warsaw, and before his departure for the Juilliard School of Music, he performed the role of Narciso at the Stanisławowski Theatre in Warsaw’s Royal Łazienki, with a memorable waltz in which Agrippina sets the tempo. This performance, directed by Natalia Kozłowska — who was also beginning her opera career — marked the beginning of the Dramma per Musica festival in Warsaw, which continues to this day. Jakub Józef Orliński is now recognized worldwide, not only by opera lovers.
“Agrippina” by Georg Friedrich Händel, Opernhaus Zürich
Premiere: March 2, 2025
Creative Team:
Harry Bicket – Music Direction
Jetske Mijnssen – Director
Ben Baur – Stage Design
Hannah Clark – Costumes
Bernd Purkrabek – Lighting Designer
Kathrin Brunner – Dramaturgy
Cast:
Claudio – Nahuel Di Pierro
Agrippina – Anna Bonitatibus
Nerone – Christophe Dumaux
Poppea – Lea Desandre
Ottone – Jakub Józef Orliński
Pallante – José Coca Loza
Narciso – Hagen Matzeit
Lesbo – Yannick Debus
Orchestra La Scintilla and The Extras Association at Zurich Opera House