Handel Visited Brno

24^th April 2026

Agrippina in Brno

review by Olga Janáčková

The opera ensemble of the National Theatre Brno regularly includes Baroque works in its varied dramaturgical programme. The most recent of these was Handel’s Alcina, which premiered in 2022 to considerable success. The theatre management’s broad-minded approach to interpreting Baroque opera is once again evident in Agrippina, marked by renewed collaboration with the renowned orchestra Collegium 1704 under the direction of Václav Luks. Such a high-quality musical foundation lends the spacious Janáček Theatre a captivating atmosphere. With this in place, relatively little more is needed to complete a production capable of filling this modern venue with a compelling interpretative framework.

This production of Handel’s Agrippina is directed by Martin Glaser, Director of the National Theatre Brno. He has joined forces with set designer Petr Vítek and costume designer Martin Chocholoušek. Together, they skilfully draw on inspirations from antiquity, the Baroque, and the present day. Vítek’s monumental set, built on a revolving stage, allows for fluid transitions between locations within the imperial palace: the Empress Agrippina’s bedroom, a grand hall, adjoining chambers, and connecting corridors. This proves an ideal setting for an opera steeped in intrigue and deception. The costumes—particularly the most colourful and striking ones worn by minor characters and servants—bring vitality to the otherwise white walls, occasionally complemented by suspended scenic elements. Naturally, gold is reserved for Emperor Claudius and the young Ottone, one of the contenders for the imperial throne, while Agrippina appears dignified and Poppea more youthfully attired.

All the characters scheme relentlessly; only Ottone, in his pursuit of Poppea, remains steadfast in his love. The complicated web of intrigues can at times be difficult to follow, yet it soon becomes clear that Agrippina is the principal instigator. The plot draws on events from ancient Rome that are at least partly familiar. Martin Glaser has created sharply defined character types, allowing the performers ample space both for their demanding vocal lines and for clear dramatic expression. He also highlights Handel’s occasional ironic detachment from both political and romantic affairs. Agrippina is one of Handel’s early operas (presented here for the first time locally), and its musical conception differs from that of the later Alcina. The arias are interwoven with relatively extensive recitatives and are closer in style to Venetian opera, which was later supplanted by the more ornate Neapolitan tradition.

The principal characters are accompanied on stage by dance sequences performed by four distinct types of nimble-footed servants, who lend the action lightness and wit. The third act unfolds in a garden maze that seems almost tailor-made for the lively Poppea. Here, the soloists are able to display their vocal, dramatic, and physical abilities to the full.

The central role of Agrippina is admirably portrayed by Pavla Vykopalová, whose voice comfortably encompasses the role’s wide range, including beautifully resonant mezzo-soprano lower tones. Agrippina appears as a determined ruler whose sole aim—securing the imperial throne for her (here portrayed as adolescent) son Nero—must be achieved at any cost. Her formidable rival Poppea, desired not only by Ottone but also by Emperor Claudius and Nero, is likewise given ample space for recitatives and arias rich in demanding coloratura. At the performance on 19^th April, however, the scheduled Poppea, Doubravka Novotná, was unable to sing due to a sudden vocal indisposition. The theatre management responded swiftly by engaging Vanessa Waldhart, who knows the role from Halle, a German city renowned for its Handel productions and festival. This prompt solution hardly disrupted the performance: Waldhart sang from the orchestra pit (positioned higher than usual for Baroque opera), while Novotná acted the role on stage.

Supporting roles were reliably performed by Tadeáš Hoza, Monika Jägerová, and David Nykl. The role of Nero was delivered at a high level by countertenor Vojtěch Pelka, already a seasoned performer in Baroque productions, whose confident vocal delivery was marked by a pleasantly bright tone. Another countertenor, Constantin Zimmermann, proved a convincing Ottone, effectively using his slightly veiled timbre to characterise Poppea’s suitor. Wojtek Gierlach’s Claudius appeared as a somewhat comic emperor, dominated by the irrepressible will of his wife Agrippina. The four-hour performance—featuring two twenty-minute intervals—remained brisk and engaging throughout, and deservedly attracted considerable audience interest.

Olga Janáčková (b. 1945) is a leading Czech musicologist, theatrologist, critic, and opera director. She served as the dramaturge for the opera at the North-Bohemian Theatre of Opera and Ballet at Ústí nad Labem between 1987–1989. She directed Rossini's The Barber of Seville (1989). She contributed to the samizdat theatrical magazine Dialog (1977–1980) and worked on a theatrical dictionary that was published in 1988. As of 2026, she is associated with the Polyharmonie website, reviewing opera performances.

Agrippina with a Brilliance of Temperament

review by Zuzana Ledererová

Following the great success of Handel’s Alcina, staged by the National Theatre Brno in 2022, the company has once again turned to this composer. This time, the Janáček Theatre presents Agrippina, a work written when Handel was just twenty-four and absorbing the art of music in Italy. He is said to have composed it for Venice only after some hesitation. Its remarkable success is reflected in the fact that, after its premiere, the opera was performed no fewer than twenty-seven times. The librettist, the Venetian nobleman Vincenzo Grimani, is himself a fascinating figure with an exceptionally rich and varied life. It is also noteworthy that his father, together with his brother, founded one of the first opera houses in Venice. All this and much more is presented in the unusually detailed programme notes by dramaturge Patricie Částková.

The opera’s subject is rooted in ancient Rome, whose history and legends Grimani used to create scenes full of political intrigue, romantic entanglements, and passion. Dominating all is Agrippina’s determination to place her son Nero on the imperial throne, thereby securing control of the empire through him. A modern audience may not readily perceive the Baroque satirical references, yet certain aspects of human behaviour remain timeless.

One might expect a four-hour performance to be dominated by Handel’s music unfolding against a relatively restrained and static stage backdrop. Director Martin Glaser, however, offers a genuine theatrical surprise. From the overture to the final scene, there is scarcely a moment of stillness on stage. Such an approach naturally places considerable demands on the performers. The dancers also contributed significantly to this dynamic evening, which did not lack elements of situational humour. Glaser has created a production that consistently engages and often surprises the audience. Moments of duets and arias offer convincing emotional depth, alternating with scenes rich in movement and lively interaction. It is, above all, theatre that captures the vibrant temperament of the Baroque.

The foundation of this approach lies in the stage design. Petr Vítek has chosen as his starting point a monumental antique space, transformed throughout the performance on a revolving stage. The historical style is treated with deliberate ambiguity. This evokes the timelessness of human relationships, needs, and conflicts, while also suggesting the passage of different eras. The costumes likewise span centuries, combining elements of antiquity with stylised Baroque features.

It goes without saying that the music itself plays a central role. Collegium 1704, under the direction of Václav Luks, once again demonstrated its mastery. The rich palette of sound colours was shaped by a clear stylistic order and a strong sense of rhythm. Pavla Vykopalová as Agrippina, Wojtek Gierlach as Claudius, Doubravka Novotná as Poppea, Constantin Zimmermann as Ottone, and Vojtěch Pelka as Nero all contributed to an outstanding ensemble performance.

Zuzana Ledererová (b. 1949) is a Czech journalist, historian, and curator specializing in scenography and cultural studies. She is also recognized for her work in musicological research, specifically regarding theatrical works, including operas and ballets. Ledererová focuses on the history of set design (scenography) and has published works about Bohuslav Martinů and other theatrical productions. She is the author of [Exhibition Catalogue] Ledererová, Zuzana: Opery a balety Bohuslava Martinů v díle českých scénografů (Brno 1980), in addition to other works on theatre. Currently, she contributes to the online cultural review Polyharmonie, where she writes about musical performances, theatre, and concerts.

Production Details

George Frideric Handel: Agrippina
Libretto by Vincenzo Grimani
Premiere: 11^th April 2026, Janáček Theatre, Brno

Musical direction: Václav Luks
Director: Martin Glaser
Set design: Petr Vítek
Costumes: Martin Chocholoušek
Lighting design: Martin Špetlík
Movement direction: Martin Pacek
Dramaturgy: Patricie Částková

Agrippina: Pavla Vykopalová
Claudius: Wojtek Gierlach
Poppea: Doubravka Novotná / Vanessa Waldhart
Ottone: Constantin Zimmermann
Nero: Vojtěch Pelka
Pallante: Tadeáš Hoza
Narciso: Monika Jägerová
Lesbo: David Nykl

Collegium 1704, dancers

Links

• Agrippina on the the website of the National Theatre Brno.
• Brno navštívil Händel. Recenze Olgy Janáčkové a Zuzany Ledererové.
  (The Czech original of the present reviews.)