The producers had a good idea, forget sets and all that costly paraphernalia, forget period costumes, just grab something out of the wardrobe, and in the case of De Niese, just her underwear.
The red curtain will do for most scenes, but occasionally pull it back for a blue wall or white nothingness. How about a bed, PK and a bath, a few can use that, all in the best possible taste. Have a chair or two. For scene changes have the chorus, or stagehands dressed as chorus to push a few bits on or off. Great, now for the singers.
There are some, in fact all good singers, but my main problem is with Alice Coote as Nero, far too light a voice, in interchanges with De Niese, difficult to tell where one left off and the other started. Diminutive in stature, gave no stage presence. not Alice fault, just miscast. Would have prefered a tenor. Next Iestine Davies as Ottone, I love his counter tenor, but I have heard this sung by baritone, and by tenor, and it works far better for me. I do not know the composers intentions, but I do know what works for me.
Nero as portrayed is some sort of gang boss, but this does not match the plot, his guards are pistol toting bouncers.
The goddesses appear briefly in the audience at the start, except for Love who is ever annoyingly present, even when not making her plot interferences with the mortals.
Seneca, Paolo Battaglia has a fine voice, but in his big scene odd bods litter the stage with books, only to pick them back up at the end. Symbolic of something I suppose.
In one of the finer moments of bad taste Nero drowns one of his suppporters in a bath for fun. There are a few others, some played for cheap laughs.
I rest my case, I shall consign this to the charity shop, far too painful to watch again.