La Clemenza di Tito

Clemency

Commissioned for the coronation of Leopold II as King of Bohemia, La Clemenza di Tito It was Mozart's last opera. And it was not satisfied with simply making a composition for such an event worthy, It was far beyond, musicodramática developed a new structure and composed some of his most beautiful arias.
This work tells the life of Titus Vespasian, just and merciful Emperor, to the point of forgiving his close friend Sesto, and his fiancee , Vitelia, they tried to assassinate him. It is the closest thing to a Greek tragedy.

Thomas Hengelbrock, an acknowledged expert in this repertoire and who directed last season Iphigenia in Tauris, It is also this time in charge of the musical direction. For him, this work "It is the most mysterious opera by Mozart and a romantic work with Baroque appearance”. This is perhaps, what it makes this opera so complex.
But its leadership has not been enough to lift a work, thanks to its scenery got the room temperature proves more ice cream than abroad.

In charge of marriage Ursel Y Karl-Ernst Herrmann, (Ursel, legend in the world of theater), the same scenery is presented which was released in 1982. At that time it was a success, but today its hospital appearance, Desngeld, arid and unoriginal, They make it an ancient relic.
A scenic coldness of that could not flee nor the orchestra, nor the chorus, neither the public nor, Of course, the singers. It develops into a single wide space, almost abstract that aims to find an effect of neutrality that allows highlight, wrenching way, the depth of feeling of the music and characters. But, nothing is further from this intention.

With what promised night. Mozart again at Real… bated, the Queen, miss Ana, Don Jesus, Don Alfonso, Don Carlos, Dona Isabel, How much glamor!. Begins the overture, gorgeous! But… they appeared, the singers… Once retrieved by salts, I could start thinking about other things, the washer, Wendolin take to the vet… But it was impossible to concentrate, after Vitelia, Tito appeared. I prefer to blame it on the coldness of which we spoke earlier. The lack of connection between characters, and between them and the audience it was very loud. A complete lack of pace. There was no tension to a work like this is supposed. Nothing seemed to flow on stage.

Yann Beuron Tito created a mellifluous and inconsistent. Unable overnight in a wild voice embridar built an erratic character on stage. It was like a child abandoned in the waiting room of a nursing home in the former Soviet Union, who so faithfully he represented the stage.
Amanda Majeski as Vitelia, He not managed to define the character of the character. It began as a histrionic adorned by a bibrato somewhat annoying. It was corrected as the work progressed and managed to hold his voice.

Relief came from the hand of the papers alleged side. Superbly played by a Sesto Kate Aldrich. A voice firm, balanced and polished Sesto saved from burning.
two other young, María Savastano, as Servilia and Serena Malfi, Como Annio, They proved to have more than enough qualities and helped save the premiere. The Malfi has a strong instrument, a compact and penetrating voice filled with warmth his character.
Savastano construyó a radiant Servilia, bright and very consistent.
Highlight, yes, costumes. Of a baroque romanticism that made the characters stand out in the bland setting.

In summary, a failed attempt to rescue this Clemenza. It was demonstrated in the lack of enthusiasm of the final applause. hopefully next season, more mozartian than ever, return the brilliance of a composer who deserves much more effort.

THE CLEMENZA DI TITO
Wolfgang Amadeus Mozart (1756-1791)

Serious opera in two acts in Italian language
Libreto de Pietro Metastasio adaptado by Caterino Mazzolà
D. musical: Thomas Hengelbrock / Peter Tilling (29)
D. scene: Ursel and Karl Ernst Herrmann
Scenographer, costume designer and illuminator: Karl-Ernst Herrmann
D. from the choir: Andrés Máspero
Yann Beuron/Amanda Majeski/Kate Aldrich/
Servilia María Savastano / Serena Malfi / Guido Loconsolo
Continuo and Fortepiano: Diego Procoli
Headlines Choir and Orchestra of the Teatro Real
New production at the Royal Theater from the Salzburg Festival