Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Proms at ... Cadogan Hall 5: Louise Alder and Gary Matthewman

“On the wings of song, I’ll bear you away …” So sings the poet-speaker in Mendelssohn’s 1835 setting of Heine’s ‘Auf Flügeln des Gesanges’. And, borne aloft we were during this lunchtime Prom by Louise Alder and Gary Matthewman which soared progressively higher as the performers took us on a journey through a spectrum of lieder from the first half of the nineteenth century.

Glowing Verdi at Glimmerglass

From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.

Get Into Opera with this charming, rural L'elisir

Site-specific operas are commonplace these days, but at The Octagon Barn in Norwich, Genevieve Raghu, founder and Artistic Director of Into Opera, contrived to make a site persuasively opera-specific.

A disappointing Prom from Nathalie Stutzmann and BBCNOW

Nathalie Stutzmann really is an impressive conductor. The sheer elegance she brings to her formidable technique, the effortless drive towards making much of the music she conducts sound so passionate and the ability to shock us into hearing something quite new in music we think we know is really rather refreshing. Why then did this Prom sometimes feel weary, even disappointing at times?

Sandrine Piau: Si j’ai aimé

Sandrine Piau and Le Concert de la Loge (Julien Chauvin), Si j’ai aimé, an eclectic collection of mélodies demonstrating the riches of French orchestral song. Berlioz, Duparc and Massenet are included, but also Saint-Saëns, Charles Bordes, Gabriel Pierné, Théodore Dubois, Louis Vierne and Benjamin Godard.

Merola’s Striking If I Were You

Jake Heggie and Gene Scheer have become an indispensable presence in the contemporary opera world, and their latest premiere, If I Were You, found the duo at the very top of their game.

The Thirteenth Child: When She Was Good…

Santa Fe Opera continues its remarkable record for producing World (and American) Premieres with The Thirteenth Child, music by Poul Ruders, libretto by Becky and David Starobin.

The Sopranos at Tanglewood

Among classical music lovers, Wagner inspires equal measures of devotion and disdain. Some travel far and sit for hours to hear his operas live. Others eschew them completely.

OPERA TODAY ARCHIVES »

Reviews

The Arch of Titus by Canaletto
24 Feb 2012

La clemenza di Tito — Barbican

The last opera seria — Mozart’s late, austere masterpiece, and vividly brought it to life.

W. A. Mozart: La clemenza di Titlo

Tito: Michael Schade; Sesto: Alice Coote; Servilia: Rosa Feola; Vitellia: Malin Hartelius; Annio: Christina Daletska; Publio: Brindley Sherratt. Deutsche Kammerphilharmonie Bremen. Deutscher Kammerchor. Conductor: Louis Langrée. Barbican Hall, London, 22nd February 2012.

Above: The Arch of Titus by Canaletto

 

After writing three great Italian operas which advanced the genre immensely, Mozart turned his attention elsewhere. In his final year he wrote two last operas, which not only contrast with each other but with the three Da Ponte operas which precede them. His singspiel Die Zauberflöte has long been accepted on operatic stages, but La clemenza di Tito has only relatively recently come to acceptance as being stage-worthy.

Somehow, Mozart’s reverting to an opera seria libretto based on Metastasio seemed a step backwards; compared to the three Da Ponte operas, La clemenza di Tito can seem static and actionless. It is in fact an opera which requires the right performers, and at the Barbican on Wednesday 22nd February, the Deutscher Kammerphiharmonie Bremen, under conductor Louis Langrée presented the opera in concert, with a cast who seemed to understand Mozart’s late, austere masterpiece, and vividly brought it to life.

Of course, the piece isn’t strictly an opera seria; the libretto was re-written for Mozart by Caterino Mazzola the Dresden court librettist. Mazzola reduced the number of acts to two and introduced trios, duets and ensembles, giving a greater role to the chorus and creating the Act 1 choral finale. (In fact there is a Gluck setting of the original libretto and I have long thought that it would be illuminating to hear the two side by side in concert.) But Mozart kept a number of opera seria elements in his setting, notably the use of long, highly serious arias; this of course was helped by the fact that one of the arias was a pre-existing concert aria which Mozart included, thus facilitating the speeding writing of the piece. He also relished the way the drama turns slowly, that we get to examine the major characters in detail, emotion by emotion, Affekt by Affekt.

The subtlety which Mozart and Mazzola brought to the piece is demonstrated by their Act 1 trio for Vitellia, Publio and Annio, inserted at the point where Tito has decided to make Vitellia his bride. This could easily have been an aria for Vitellia as she agonises over the fact that it is too late to call back Sesto from his plot; instead Mozart and Mazzola counterpoint this with Publio and Annio’s reactions, naturally they assume that Vitellia is imply overcome by the enormity of the honour of being made Caesar’s wife.

The concert performance at the Barbican was the third stop in a four city tour (Dortmund, Bremen, London, Paris) so that the performance was well bedded in. Though scores were used by the singers, some seemed to ignore them entirely and others were hardly bound to them. In fact this was a highly dramatic presentation. Chief amongst this was the Tito of Michael Schade. Schade used the recitatives in a vivid way, sometimes distorting the line for emphasis. His Tito was no compliant dummy, but a highly emotional and at times over-wrought man; in fact Schade was one of the most extrovert Tito’s I have ever seen, a highly involved and strongly projected performance. This was combined with some very fine Mozart singing, with a clear sense of line combined with dramatic thrust. This made Tito much more of a major player in the drama, rather than a passive ruler to whom things happened as has often been the case with other tenors in this role. Though I have to say that sometimes I thought that Schade went it little too far, with over emphatic dramatics which a good director would surely have taken in hand (there was no director credited in the programme).

Alice Coote’s Sesto was no less dramatic, but all the more compelling for being a far less histrionic performance. Coote’s Sesto was firmly rooted in the music, in the long statuesque arias which Mozart wrote for the character. The great showpiece “Parto, parto” was superbly done, finely accompanied by the solo bassett clarinet from the orchestra. But Sesto’s big accompagnato at the opening of Act 2 also showed a great artist at work, combining musical values with profound drama. Coote is highly experienced in baroque opera seria and so you felt that her performance in this, the last opera seria, was inflected by Mozart’s reflection of the past. Coote’s Sesto reflected both Mozart’s other writing for mezzo-soprano, but also earlier Handelian roles.

She was ably partnered by the Vitellia of Malin Hartelius. Vitellia is a curious role; written for a soprano, it includes the aria, “Non piu di fiori”, which may originally have been concert aria for a distinctly lower voice. This gives the part quite a wide range and its tessitura is such that mezzo-sopranos such as Janet Baker and Della Jones have played with role and on stage it can often be performed by a dramatic soprano (Julia Varady has recorded the role). Malin Hartelius has a rather lighter voice than these; her CV includes recent highlights such as Fiordiligi, Leila (Le Pecheurs de Perles) and her first Marschallin. She played Vitellia as more overtly sexy and rather less the scheming bitch; Hartelius brought a sexual charge to a lot of Vitellia’s music, here was a woman who lived in a man’s world by trading on her female wiles and charms. The relative lightness of Hartelius’s voice meant that we got a nice flexibility in the vocal line, which was a great treat. (Here was a Vitellia more closely related to Fiordiligi than is sometimes the case). She approached the top of her voice with caution, but nothing was announced regarding indisposition. In “Non piu di fiori” she approached the low notes bravely, making the effort seem part and parcel of a fine performance; again the obliggato was played finely by the orchestra’s clarinettist, this time on a bassett horn, thus giving the aria its distinctive tint.

Coote and Hartelius developed a strongly co-dependent relationship which was all too believable and became the strong engine of the drama around which the other roles circulated. Luckily the cast formed a strong ensemble, so that Coote and Hartelius did not overbalance the drama.

Christina Daletska displayed a lighter, brighter voice than Coote, so that her Annio was clearly related to Cherubino, though a Cherubino now grown up and willing to challenge authority. Daletska gave a seriously fine account of Annio’s aria “Tu fosti tradito” when he stands up to Tito after the discovery of Sesto’s involvement in the plot against Tito.

Rosa Feola was an entirely admirable Servilia, giving a performance that combined charm with a certain interesting dramatic edge. She left you wishing that Mozart had written more for this character.

Brindley Sherratt was Publio, the commander of the Praetorian Guards; a role entirely without aria, but one which has an important part to play in the drama and in the ensembles. Sherratt discharged his duty entirely admirably and convincingly, bringing a nicely dramatic firmness of line to the role.

Of course, one major aspect of any performance ofLa clemenza di Tito is the recitative. There’s a lot of it and it’s not all by Mozart; one of his pupils wrote it under his supervision. The cast gave us quite a full version, accompanied by Raphael Alpermann’s lively fortepiano. The result was fleet and dramatic, keeping the action moving and making us aware that it really was drama.

The Deutscher Kammerchor provided the choral moments with nicely turned phrases. They were not on stage all the time, so their entrances and exits were a little distracting, but once present their singing was of a high order.

Conductor Louis Langrée drew a fluent and at times speedy account of the music from the Deustche Kammerphilharmonie Bremen. But Langrée’s concern for lively expressiveness seemed at times to be at the expense of cohesiveness of ensemble. Still, he got a vivid and involving performance from everyone and above all made us believe in La clemenza di Tito as drama, rather than a museum curiosity.

Robert Hugill

Click here for the programme of this production.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):