The third in the Edinburgh International Festival series of Monteverdi operas in directed concert performance by the English Baroque Soloists and the Monteverdi Choir was L’incoronazione di Poppea, in love-story terms a pentangle, rather than a triangle. Nerone and Poppea are an item - only, he is married to Ottavia and she is supposed to be an item with Ottone, who is adored by Drusilla. Both Ottavia and Poppea have old nurses, who encourage their darlings, while Nerone’s tutor is the philosopher Seneca. Oh, and it starts with a bit of a barney between the goddesses Fortuna and Virtu, who is separated by Cupid saying that he wins anyway.

What is noteworthy from seeing all three works presented in the same way, in the same location, with the same cast and musicians, conducted by John Eliot Gardner, is how far opera has come between the rather static L’Orfeo in 1607 and the high drama of Poppea in 1642. 

This was particularly evident in the smaller parts; the soldiers on guard outside Poppea’s house, the gods and goddesses; the nurses - rich-voiced Lucile Richardot’s Arnalta was superb and, should she want it, she has a great future in pantomime. Michał Czerniawwski’s Nutrice was walked out on by Ottavia (Marianna Pizzolato); nothing daunted, he carried on in the same strain.

Anna Dennis’s Drusilla could hardly contain her joy when Ottone gave up Poppea and turned his affections to her – although she queried whether it was genuine. Her ringing voice had a luscious clarity of tone.

The character of Ottone (Carlo Vistoli) was a bit of a wimp in this performance, but the conflict between his love for Poppea and his acceptance of Ottavia’s order to kill her showed that he had a core of principle. The wimpish-ness did not extend, however, to his voice.   

Gianluca Buratto impressed as Seneca, telling truth to power but acknowledging his inevitable doom. Sadly, he committed suicide before the interval, so that gorgeous bass voice was heard no more – except in a chorus.

Hana Blažikova was excellent as Poppea though, occasionally, I wondered if her quiet singing would carry through the hall. Kangmin Justin Kim’s Nerone was everything one would wish – petulant, un-governed, impetuous – with a voice that charmed. When, finally, Poppea achieved her ambition and Nerone made her his wife and crowned her empress, the imperial couple came together in love and desire in a languorous, sensuous ‘ Pur ti miro, pur ti godo’, intense and intimate. Their voices intertwined so effectively that, at times, it was barely possible to tell which of them was singing.

Throughout the performance, the playing and singing was a musical treat, being of the highest standard.

All three Monteverdi performances were co-directed by John Eliot Garnder and Elsa Rooke, with costumes by Isabella Gardner and Patrice Hofstede and lighting by Rick Fisher.