in the title role and Mario Petri as Claudius, and the performance was conducted by Antonio Pedrotti. A 1958 performance in Leipzig, and several more stagings in Germany, preceded the British première of the opera at Abingdon, Oxfordshire, in 1963. This was followed in 1982 by the first fully professional production in England. It was performed by Kent Opera with the conductor, Ivan Fischer, making his debut with the company and the orchestra playing on baroque instruments. Felicity Palmer took the title role. In 1983 the opera returned to Venice, for a performance under Christopher Hogwood at the Teatro Malibran. In the United States a concert performance had been given on 16 February 1972 at the Academy of Music in Philadelphia, but the opera's first fully staged American performance was in Fort Worth, Texas, in 1985. That same year it reached New York, with a concert performance at Alice Tully Hall, where the opera was described as a "genuine rarity". The Fort Worth performance was quickly followed by further American stagings in Iowa City and Boston. The historically informed performance movement inspired two period instrument productions of Agrippina in 1985 and 1991 respectively. Both were in Germany, the first was in the Schlosstheater Schwetzingen, the other at the Göttingen International Handel Festival. 21st century revivals There have been numerous productions in the 21st century. There was a fully staged performance at the Glimmerglass Opera in Cooperstown, New York in 2001, conducted by Harry Bicket and directed by Lillian Groag. This production then moved in 2002 to the New York City Opera, revived in 2007, and was described by The New York Times critic as "odd ... presented as broad satire, a Springtime for Hitler version of I, Claudius", although the musical performances were generally praised. In Britain, the English National Opera (ENO) staged an English-language version in February 2007, directed by David McVicar, which received a broadly favourable critical response, although critic Fiona Maddocks identified features of the production that diminished the work: "Music so witty, inventive and humane requires no extra gilding". Some of the later revivals used countertenors in the roles written for castrati. Joyce DiDonato has performed the title role in productions in London at The Royal Opera in 2019 and at the Metropolitan Opera New York in 2020, among other venues. Music Agrippina is considered Handel's first operatic masterpiece; according to Winton Dean it has few