From interviewing the production team of L’incoronazione di Poppea, it became clear that spreading appreciation for opera, and increase its accessibility, lie at the heart of this production. The team have transposed the daring Baroque piece, set in Ancient Rome, to a 1980s corporate context. The plot descends into a “raunch fest,” says director Livia Bell; she went on to describe the fiendish predicament unfolding in the show as A-lister Poppea, the insatiable Emperor Nero, and their conjugal spouses all grasp for one another, fuelled by equal lust and malice.

In Bell’s words: “The 20th century setting jumped out. The sauciness and depravity, as well as the omnipresence of the media – it was a perfect fit.” This transposition is quite the task, she notes, but in researching past performances she has found the opera to be set in various times and locations across its production history. To her, this proves the universal quality of its themes and ideas. The team agree, suggesting their own creative vision, which sets the story closer to our own time, welcomes first-time opera goers and makes for a more accessible production than normal.

“Spreading appreciation for opera, and increase its accessibility, lie at the heart of this production”

The show’s unique nature is reinforced to me by musical director Eoin Jenkins, who talked enthusiastically about the different instruments making up the orchestra, especially those we wouldn’t normally see – like a harpsichord. Producer Charlotte Crawley tells me of the crew’s plans to put the orchestra onto the West Road stage itself, within the very context of Poppea, contributing further to an “immersive” and “interactive” atmosphere.

“The more in-your-face, the better,” summarises Bell. This attitude is evident in the team’s marketing strategy too; posters spread about all over Cambridge, in the format of a front-page newspaper, mimic the media whirlwind that takes place within the show and suddenly make the opera’s story feel modern and alluring. In another publicity move, a ‘Poppea’s Potion’ can be obtained at Harvey’s Coffee House along with a 15% discount for ticket holders.

“A ‘Poppea’s Potion’ can also be attained at Harvey’s coffee shop along with a 15% discount for ticket holders”

Jenkins breaks down the production’s singing to me, explaining that it has a “modern” quality due to the lack of “wide vibrato” and “broad stroke arias.” Rather than diverging from the genre, it demonstrates malleability of opera itself and how the medium has much more to offer to the theatre scene than it’s necessarily given credit for. Jenkins touches on the direction of singing rehearsals too: the cast were guided to hone in on every nuance of the Italian libretto with the aid of language coaches. Audiences need not worry about the subject matter being lost in translation.

Subtitles, curated by language coaches, aim to provide an accurate and engaging translation fitting for a more modern storytelling context. “The delivery of text,” I’m told, was of the “utmost priority,” due to the fact that the music does not speak for itself; rather, Poppea is more like a “play with music.” The team seems to place great stakes on addressing and debunking the insular and elitist reputation of opera. It’s clear they’re looking to create the perfect introductory piece; something excites and immersive that stokes a taste for opera more widely.

“Audiences need not worry about the subject matter being lost in translation”

The focus on accessibility is almost feverishly reinforced to me throughout. The reason Poppea was selected at all, Crawley and Bell tell me, is due in part to its large cast, facilitating opportunities for opera newbies as well as accommodating the inevitably busy schedules of Cambridge students. While acknowledging the cast’s amateur status, all three creatives assured me how blown away they’ve been by the professionalism they’ve shown, as well as their commitment to undergoing an education in opera as a whole.

This included workshops, a consideration the different qualities of performance, such as naturalistic movement, and even a master class with Michael Chance (a Cambridge alum and founder of the Grange Festival, for those not in the know). The approach to direction has been holistic, with an emphasis on nailing the rhythm, cultural context and foreign musical style. It’s not just the cast getting an education, but the audience too, Bell says, with a pre-show discussion set to illuminate the historical backdrop underpinning the production.

The inclusion of the wider Cambridge scene doesn’t stop at cast and audience, however. The Poppea team have reached out far and wide to all corners of university life (just look at Harvey’s!). Crawley notes it was a priority to include all those who wanted to be involved and were generous enough to contribute their skills, including artists and linguists: “It was the eagerness of the community which surprised me and their willingness to help.” She even name-checks the AMES library contributing to the set design – make sure you look out for any familiar and impressive plants making their debut…

‘L’incoronazione di Poppea’ is showing at the West Road Concert Hall from Thursday 27 February until Saturday 1 March at 8pm, with a Saturday matinee at 2:30pm.

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