THIS production used a new English translation by John Worrack.

Vernacular, and at times somewhat lacking in poetry, it was in tune with the “agricultural” nature of some of the action, as Worrack amusingly outlined in a pre-concert talk about the history and development of early opera.

Most people probably know or have heard the final, ethereal love duet between Nero and his newly crowned Empress Poppea.

The intertwining melodic lines are sensuous and moving, but Worrack pointed out they were unlikely to have been composed entirely by Monteverdi. Nevertheless, it remains a highlight and finishing glory of the opera.

Eboracum Baroque, a small band of ten musicians, lined the back of a simple stage, conducted from the organ by Christopher Glynn, the festival director.

Working from a sparse score, which they interpreted and ornamented, they provided both the simple backdrop and musical backing to the action, except where the harpsichord was carried on stage for the scene where the poet Lucano accompanies and sings a duet with Nero praising the beauty of Poppea.

The tale of passion, power and plotting starts with Fortune, Virtue and Love arguing who is most powerful. Much of the drama revolves around the competing, scheming and morally compromised characters.

Several singers played more than one role. Maria Otroukhova was strong as both Fortune and Nero’s spurned wife Ottavia. Gwilym Bowen made a convincing soldier and tribune, and Rebecca van den Berg an engaging Drusilla.

Elizabeth Holmes, as Poppea, carried her role well, as did Stephanie Marshall playing her tyrannical husband and Emperer Nero. The passionate love scenes were not entirely convincing. Ottone, sung by Ben Williamon, did not quite have the dramatic presence required to portray Poppea’s wronged husband.

Seneca, the stoic philosopher, was sung by James Fisher. He has a dramatically resonant bass voice but found it hard to portray stoicism other than by singing loudly.

Comic interludes lightened the mood and were well played, especially the taunting of Seneca as self-important, and the worldly wisdom offered to Poppea by her maid Arnalta, well sung and acted by Rosie Aldridge.

Diction throughout was immaculate.

Scenery was minimal, shifting between palace, bedroom, garden and Seneca’s household.

Sue Shaw