***** (5 stars)
“Utterly brilliant”
Utterly brilliant and immensely satisfying, with gorgeous music and glorious singing.
Full-scale operatic productions cost ridiculous amounts of money. It is therefore a joy that the Scottish Chamber Orchestra [SCO] under their conductor Maximilian Emelyanychev are continuing their tradition of bringing a ‘concert’ performance of a Mozart opera to the International Festival.
At first sight, Clemenza is a full-scale, grandly public opera, with choruses of praise for the `emperor, but it’s really very intimate and focused on intently personal situations. Love, friendship, loyalty and integrity are all challenged: and not everyone comes through the tests with flying colours.
Like many 18th century opere serie [‘serious operas’], the plot of Mozart’s La Clemenza di Tito is a tad convoluted. Roman Emperor Titus, the merciful hero of the title, has recently parted company with the foreign princess Berenice. Roman noblewoman Vitellia hopes to replace her at the emperor’s side. When Tito asks Servilia to be his consort, Vitellia works on her besotted admirer, Sesto [who is Titus’s dear friend and Servilia’s brother] to lead a rebellion against his bestie.
Servilia is in love with Annio, who despairs when he learns of Tito’s proposal. Not so Servilia, who faces up to the emperor and says her heart is already taken. Noble Tito gladly gives his blessing to the two young lovers, and turns his attention to Vitellia, who tries to stop Sesto – she no longer wants Tito to die. Sesto’s attempted coup fails and, as he refuses to incriminate the woman he loves, he is condemned to death by a heartbroken emperor. Vitellia is at first lost in dreams of imperial glory but, full of remorse, has the decency to confess her part in the plot.
Noble Tito refuses to condemn anyone to death and pardons them all. Cue general rejoicing and praise of his nobility and mercy.
All six singers were new to me, and all have superb voices: I look forward to hearing them again very soon.
Giovanni Sala, slim and elegant as the emperor Tito, had a voice that was soft and gentle as he pleaded with his friend Sesto to explain what had prompted him to attempt his murder, but whose rich, ringing tones gave his imperial pronouncements majesty and power. Angela Brower’s Sesto was putty in the hands of the woman he loved, but riven with anguish at the thought of betraying his dearest friend and able to face his imminent death courageously. I couldn’t help but wonder whether he and Vitellia had any future together after she confessed to masterminding the plot.
Tara Erraught’s Vitellia was very sure of her power over Sesto. Thirsting for vengeance – her father was the previous emperor – she had no qualms about manipulating her lover into an act of treason. It was only later, when she realised that Sesto wasn’t going to betray her, that her conscience started to prick her.
Hera Hyesang Park was a gentle, loving Servilia, whose inner core of steel enabled her to confess her love for Annio to Tito – saying that she would still marry him, but he must know her heart was given to another. Maria Warenberg’s Annio was superb: an ardent lover, a devoted friend to Sesto, and a loyal supporter of his emperor. Peter Kalman didn’t have a huge amount to do, but with his magnificent voice played the elder statesman to perfection.
The SCO, led by Stephanie Gonley, were brilliant and obviously loved what they were doing. Maximilian Emelyanychev had a ball at the harpsichord, bouncing about as he directed soloists, chorus and instrumentalists. Hugely appreciative applause was deservedly given to the two clarinettists – Maximiliano Martin on basset clarinet and William Stafford on basset horn. Two of the greatest arias in the opera engage the singer in a duet with one of these instruments whose melodies are an integral part of the aria. In Sesto’s deh, per questo istante solo and Vitellia’s non piu di fiore, the instrument adds yet more expressive emotion to the singer’s words. The SCO chorus, directed by Gregory Batsleer, made the most of their relatively short but impressive contributions and were deservedly applauded by the principals at the final ‘curtain’.
In short, it was an absolutely wonderful evening. I’m already looking forward to next year’s SCO Mozart!
EIF, Mozart La Clemenza di Tito, Usher Hall, Edinburgh, for more information go to: https://www.eif.co.uk/events/mozarts-la-clemenza-di-tito
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