10 Dec 2012
The Met’s La Clemenza di Tito blends inspired singing with dazzling wind obbligatos
The live HD simulcast of Mozart’s final operatic effort, set in ancient Rome, reached friends, Romans and countrymen the world over
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
The live HD simulcast of Mozart’s final operatic effort, set in ancient Rome, reached friends, Romans and countrymen the world over
The Roman Emperor Titus was by all accounts a forgiving man. At least when compared to the likes of Caligula, Nero and Commodus. But even Titus (or Tito, as he’s known in this opera) would have been hard-pressed to find anything in need of a pardon at the Met’s handsomely sung and visually appealing production of Mozart’s La Clemenza di Tito.
A splendid cast of singers, led by the brilliant Latvian mezzo-soprano Elīna Garanĉa, included strong supporting efforts by Kate Lindsey and Lucy Crowe — as well as some outstanding efforts from the orchestra pit. Put it all together, and the Met’s revival of Jean-Pierre Ponnelle’s 1984 production, set in ancient Rome, is worthy of, well, lending an ear.
Mozart began working on his final opera soon after beginning Die Zauberflöte, and completed it in 18 days — an astounding feat, even making all allowances for his subcontracting out of the continuo-accompanied recitatives.
La Clemenza di Tito was commissioned in 1791 to commemorate the coronation of Austrian Emperor Leopold II as King of Bavaria. Mozart obliged by reaching back in time to the crusty old Italian opera seria style championed by Pietro Metastasio — the early 18th century librettist whose plots extolled the magnanimity of enlightened kings and emperors.
Mozart settled on a revision of the Metastasio’s libretto by Venetian poet Caterino Mazzola that afforded him greater flexibility in structuring the arias.
The plot focuses principally on first-century Roman Emperor Titus (Giuseppe Filianoti) and Vitellia (Barbara Frittoli), the self-centered and manipulative daughter of the former emperor usurped by Titus. Jealous of the emperor’s affections toward other women, Vitellia convinces her love-struck suitor Sesto (Elīna Garanĉa) to assassinate him, and Sesto obliges by settings the royal palace on fire in an unsuccessful attempt on the emperor’s life. Unaware of the conspiracy, Titus agrees to marry Vitellia — who realizes her good fortune will come at the expense of Sesto, now imprisoned for treason and prepared to face execution rather than implicate her. In the magnificent aria “Non più di fiori,” Vitellia wrestles with her conscience and ultimately admits complicity in the plot, hoping to save Sesto. Titus, displaying royal compassion endemic to all Metastasio protagonists, decides to forgive all. Long live the emperor. Long live Leopold II. (Applause.)
Elīna Garanča as Sesto and Barbara Frittoli as Vitellia
Garanĉa, whom Met audiences no doubt remember as the title character in both Carmen and La Cenerentola, was in outstanding form in the “trousers role” of Emperor Titus’s confidante (and would-be assassin), Sesto. Here, she crafted a dramatically three-dimensional character torn between his genuine friendship for the emperor and his dysfunctional infatuation with the vengeful Vitellia.
Her signature aria “Parto, parto” revealed an agile vocal quality sufficiently nimble to weave up and down the scale in rapid triplets figures that were handsomely in-sync with the accomplished clarinet obbligato provided by Anthony McGill.
It was nevertheless Garanĉa’s lengthy second-act aria, “Deh per questo istante,” which proved the showstopper. This emotionally charged aria ranks among Mozart’s very best, and its relaxed and leisurely tempo left ample room for Garanĉa to lay bare her character’s soul, which she did to powerful effect.
When I last saw Barbara Frittoli as Micaëla in the Met’s 2010-2011 season production of Carmen I praised the Italian soprano’s formidable vocal skills, but added that her acting abilities left much to be desired. Judging from Saturday’s performance, little has changed. Void of any appreciable degree of meaningful facial expressions (and one cannot hide from the close-up camera work), Frittoli remained emotionally aloof from the complex character she portrayed.
Vitellia must undergo a complete about-face in this story — from a raging femme fatale to a contrite, conscious-stricken human being prepared to sacrifice everything in order to spare the love-struck but well-intentioned sucker she had duped into murder. It didn’t happen. Frittoli’s “Non più di fiori,” the lengthy aria where this transformation must take place, was well sung but dramatically and emotionally vacuous.
In the pants role of the young patrician, Annio, mezzo-soprano Kate Lindsey sang beautifully and her acting throughout the production was beyond reproach. The lustrous quality of Lindsey’s voice was evident in her every solo and ensemble number, but it was the degree of expression and nuance that left an indelible mark on the listener’s psyche. I especially enjoyed the profound intensity of Lindsey’s second act aria “Tu fosti tradito,” sung as her character mounts a stirring appeal to the emperor for mercy.
Lucy Crowe as Servilia and Giuseppe Filianoti as Tito
It appears that Lindsey has carved a niche in “trouser roles” at the Met. In addition to Annio she has played Nicklausse (Les Contes d’Hoffmann) and Cherubino (Le Nozze di Figaro). But with or without pants, it’s clear that Lindsey is a first-rate singer-actress, with an ability to climb into any costume and fill every limb with body and substance.
In her Met production debut as Sesto’s sister, Servilia, English lyric soprano Lucy Crowe delivered “S’altro che lagrime” with such warmth and purity of tone I felt cheated that Mozart only allowed her character this single aria. The delicate quality to Crowe’s voice seems especially well suited to lieder, although it was clear from her delivery that she is capable of packing considerable power when needed. I eagerly await Crowe’s next role at the Met.
As the benevolent Emperor Tito, an impeccably attired Giuseppe Filianoti looked and acted well enough to qualify as the noblest Roman of them all. His pleasant sounding voice nevertheless appeared weak and shaky throughout much of the first act, beginning with the aria “Del più sublime soglio” — where the Italian lyric tenor’s middle register sounded raspy and his legato uneven.
Filianoti, who has battled the effects of a paralyzed vocal cord following the removal in 2007 of a cancerous thyroid gland, came alive in Act 2 with a much sturdier voice. He finished strongly in the second act “Se all’impero,” in spite of some difficulty keeping up with the orchestra during the 16th-note coloratura runs.
Ponnelle’s spacious period set, revealing a partially decaying interior of a huge palace in ancient Rome adorned with an array of imposing Corinthian columns, looked handsome from most every angle of Barbara Willis Sweete’s kaleidoscopic camerawork. Curiously, Ponnelle’s costumes appeared rooted in the 18th century — an anachronism suggesting perhaps that the director was trying to forge an artistic connection between “classical architecture” and “musical classicism.” Either that, or the Met costume department was running low on togas.
Kate Lindsey as Annino
English conductor and early music specialist Harry Bicket directed an alert Met Opera Orchestra that played with alacrity, even during the routine recitativo accompagnato sections. In addition to Anthony McGill’s flashy clarinet obbligato accompaniment in “Parto, parto,” James Ognibene deserves kudos for his dazzling basset horn obbligato in “Non più di fiori.” Ognibene’s liquid tone throughout the range of this tenor clarinet sounded as warm and focused as that of an A or B-flat soprano clarinet. (Both obbligato parts were tailored for Mozart’s close friend and fellow Freemason, Anton Stadler.)
It’s understandable why Clemenza fails to muster the universal level of interest enjoyed by the composer’s more popular Italian operas Le Nozze di Figaro, Cosi fan tutte and Don Giovanni: It simply is not as good. On the other hand, there’s much to love and admire about Mozart’s final opera, including signature arias such as “Deh per questo istante.” Perhaps the current Ponnelle production will reignite listener passion for this deserving work.
If not, we may be needing yet another pardon from Titus.
By David Abrams