Barbee Monk, Valérie Filloux, Elizaveta Kozlova, Stephen Steffens, Sarah Nelson Craft, Jason Adamo
Mozart's opera seria La Clemenza di Tito was "dashed off" in 1791 within weeks of its commission, to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bavaria. (This commission was first offered to the more senior composer Antonio Salieri.) The libretto by court poet Caterino Mazzolà was edited from an original version by Metastasio which had been set numerous times. At the time, Mozart was actually in the middle of composing Die Zauberflöte and careful listening to the score reveals a number of similarities.
As centerpiece of its 25th season, Dell'Arte Opera Ensemble chose this treasure to present in an original reduction of the score by Maestro Chris Fecteau. We lack the time and energy to fulfill every request for a review and we pick and choose on the basis of our interest in the work, an opportunity to hear a singer we like, a recommendation by a friend or colleague, or our particular affection for the producing company. It is often the case that we find ourselves more impressed in the viewing/hearing by a feature we weren't expecting.
Our long term affection for Dell'Arte Opera Ensemble seemed reason enough to attend a Mozart opera that is not among our top four. To our delight, we heard elements of the score that were illuminated by Mo. Fecteau's reduction, elements that delighted the ear and impressed us with their effectiveness. We love vocal duets but what astonished us last night was the idea of a duet between a singer and an instrument, in this case mostly the clarinet. It was as if there were an invisible singer offstage in dialogue with the actual singer, one repeating an idea of the other, or advancing a complementary melody. We might say that our ears received the gift of an education, or a revelation.
The reduction of the score involved piano, violin, cello, and four winds--the aforementioned clarinet (played by Katie Curran), flute, bassoon, and French horn. There was a remarkable clarity in the voicing and we heard the score with fresh ears.
Metastasio's story features the titular Tito, a loving and generous ruler who puts the well being of his subjects ahead of his own desires. If Mozart chose to flatter the anointed Leopold we wouldn't be a bit surprised. We couldn't help fantasizing that our contemporary self-appointed "King" might change his ways if he deigned to visit a performance at the Kennedy Center! We wish!
Tito (tenor Stephen Steffens) casts aside his intended Beatrice because she is a foreigner (ahem!) and chooses a local lady, sister of his friend Sesto (mezzo-soprano Sarah Nelson Craft in travesti) Unfortunately Servillia (soprano Elizaveta Kozlova) is in love with Annio (Valerie Filloux also in travesti) another one of his friends. With generosity of spirit, the magnanimous Tito wishes her well and turns his marital ambitions toward Vitellia (soprano Barbee Monk) who, unfortunately, has persuaded her most ardent admirer Sesto to murder Tito to avenge her father whom Tito had deposed.
The unlucky Sesto is weak-willed and easily manipulated by the vengeful Vitellia (although the lucky singer who sings Sesto gets to sing the memorable "Parto, parto") and the suspense is whether the loyal Sesto will betray her to save his life or will this narcissistic woman realize the error of her ways and tell Tito that she was the one who set the assassination plot in motion. If you want to learn what happens you will have to attend one of the upcoming performances on June 20th and 22nd. The sixth member of the able cast is Publio, sung by Jason Adamo.
We recommend the performance but we don't recommend reading the Director's Notes as Benjamin Spierman tries to mansplain why the innocent toga-clad Servillia (the kindest character in the opera) is sporting a black leather motorcycle jacket. Fortunately Vitellia's Ancient Rome attire is a propos and we will just assume that Costume Designer Eric Lamp was just trying to fulfill a directorial concept. Please don't ask us why there was a videographer wandering around from time to time with the results projected onto the walls!
The black box playing space is comfortable with raked seating along two sides of the box and the chamber orchestra along the third side. Again, let us praise the clear titles that are adequate in size and projected where every audience member can read them.
© meche kroop
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