Perish the thought, but I must have a horribly suspicious mind to suggest that the scale of forces required for early opera is behind Opera North‘s choice of this particular piece as a main house production; in these cash-strapped times, an economic driver as much as an artistic aspiration.

Contemporary realisations of the operas of Monteverdi are in no small part thanks to the advocacy of an esteemed scholar – the conductor Raymond Leppard – whose performing editions re-awakened interest in these neglected works. Three operas La favola d’Orfeo, Il ritorno d’Ulisse in patria, and Poppea – Monteverdi’s largest and grandest work – have been handed down more or less complete; in the case of Poppea – less rather than more.

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