Category Archives: mezzos & contraltos

Giulio Cesare with the contralto cacciator (Theater an der Wien, 18 October 2017)

Cleopatra in Egitto

You might be surprised to hear that I once again lucked out with the weather in Vienna, something that only a year ago seemed laughable. T-shirt weather in October in Central Europe!

I also lucked out with my hastily bought seat1 and had an all night direct view at Galoumisù  visually there’s precious little better than DG’s upper back/neck and with a profile view you get the best of both worlds… But, you know, the music!

2017 shall remain in dehggi history as the year of the contralto hunt, as all my opera trips were dedicated to the rarest spotted fach.

Giulio Cesare: Lawrence Zazzo
Cleopatra: Emöke Baráth
Tolomeo: Filippo Mineccia
Cornelia: Delphine Galou
Sesto: Julie Boulianne
Achilla: Riccardo Novaro
Conductor: Ottavio Dantone | Accademia Bizzantina

It may come as a surprise to some that, although I have by now quite a few experiences with, for instance, Ariodante, this is the first time I’ve seen Giulio Cesare in any house. So that is why, perhaps, I felt I liked the music a little less. To be sure, taken aria by aria we have a slew of strong ones, but also our ladies get some proper dirges. Also Tolomeo doesn’t get quite the snappy material Polinesso has. His horribleness usually amounts to old skool sexism:

Tolomeo: hey sexy mama, how about you and me in the desert-shed? Bow-chica-wow-wow!
Cornelia (lips twisted in disgust): how dare you, third world vermin, speak like that to a Roman Citizen?!

This exchange happens 3 or 4 times (as Cornelia is also popular with Achilla) and with both Galou and Mineccia very good actors, it was, dramatically, the highlight of my night. But I couldn’t help thinking we’ve got a sleazy man caricature and a racist cow… I mean, no shit, Cornelia, you’re the symbol of the colonialist establishment, you may not want to use that particular trait as the one we should remember you by.

However, Anik and I agreed nobody moves quite like Galou. She has the height (+ those heels that somehow haven’t broken her back yet) and enviable posture and she knows how to work them. This was the first time when I could see why these dudes are so hot and bothered by Cornelia, who usually is made to look like this mature and sorrowful widow, ready for the veil.

In that sense, Boulianne as Sesto appeared more like Cornelia’s younger sister (a vacillating Zdenka?). Though a singer I have appreciated in the past2, with a resonant voice and interesting darker tone, I’m not convinced Handel is her repertoire. Perhaps she was too focused on the surprisingly many, moody arias Sesto has, but on the heels of Galou and Mineccia, I was hurting for even a bit of nervous movement to go with that angst. I know I’m a fidget but how can you refrain from putting your body into this stuff?!

Hats off to Mineccia for his fantastic stage presence, with liberal (but very well directed) moving about. As I was saying earlier, his interactions with Galou (<- those snarls! haha) were priceless. I also liked the “sculpted” string sound during Empio, sleale, indegno – an underrated aria. He didn’t portray Tolomeo quite as a teenager but in the context of a very fiery Cornelia that rude young man thing was a logical foil.

However, back to Boulianne’s Sesto, I did enjoy her duet with Galou’s Cornelia. Their mix of very different voices (though I think tessitura-wise they’re rather similar) worked nicely for me. The dark colour brings them together for blending, but the weight and approach to singing makes each one pop out.

Going to see Cesare for Cornelia is a thankless task, though, being a sucker for the plight of damsels in distress, I obliged 😉 Ok, who am I kidding

I don’t quite care about Cornelia’s arias; in fact I was surprised to learn she has a chipper one towards the end. So far no matter how good the singer I thought it was just whinge, whinge, that third world bastard killed my husband, boohoo, my teenage son and I are all alone, omg, who’s going to save us now that Cesare is dead? Hello, Mr librettist: why the hell has Cornelia gone to Egypt with her teenage son in tow?

Cornelia: look, Sesto3, that scum there is your father’s murderer! Stab him!
Sesto: omg, I must be strong, but I’m only 12! What’s my mum been thinking?! Shit, now I’m seeing things…

You will say, wait, wait, dehggi, she didn’t know Pompey was dead. She thought he was just imprisoned by Tolomeo and Cesare (aka, Ancient World Police) would negotiate with (= force) said third world bastard and all will end well and her family would get a Sharm el-sheikh holiday out of it as entitled to by their first world status. It’s still kind of funny when, after liberally throwing imperialist/racist abuse at sleazebag she goes all omg! we’re lost. You’re in a war zone, lady.

That being said, I loved Galou’s timing and interactions with the orchestra – the way she got in and out of the phrase and how that blended with the sound around her – surprisingly especially when she was “duetting” with the flute, if I remember correctly. I also got a kick out of her big grins during and lots of clapping after Va tacito.

Zazzo, whom I remember as a very approachable chap from the masterclass I saw a few years back, seems to be a relaxed and courteous man all around, as he gamely shared the stage with Mr Hornplayer during this (Va tacito) most famous (?) or Cesare’s areas. Perhaps not as memorable a voice as others, his is very congenial live, when countertenors can sometimes come off abrasive.

He’s also a “stage mover”, though perhaps not quite as deliberate as Galou and Mineccia, but he brought out a surprisingly affable and luminous Cesare, who’d probably (very nicely) tell Cornelia to dial down the imperialistic angle. Along the same lines, his portrayal came off like Cleopatra was out of his league, but wow, what luck, she might actually like him (the kiss at the end of their end of opera duet was on-the-cheek shy). By the way, how catchy is that duet? Zazzo and Baráth somehow found the energy to play with it and sound playful whilst doing so. It got stuck in my head for the rest of the night and most of next day.

So now that we’ve established TADW decided to advertise this as Cleopatra in Egitto, how was Baráth? She was very fine, indeed. She has the Baroque-tone, the coloratura, the breath, the intelligence and the looks to pull it off but you know I thought Cornelia outshined her Cleopatra when it came to stage movement/charisma. She’s a bit too contained/cautious, but perhaps she’ll let go with time and experience.

Novaro as Achilla was very reliable and I really liked his red/black dragon jacket but, you know, Achilla. He was pretty respectful in his interest in Cornelia and took her rejection rather meekly.

During whingy less interesting arias I had time to listen to the hall and it is true it’s not absorbent (which is probably a good thing for this repertoire). Luckily our singers were in very good form. The band wasn’t bad, though I understand it was occasionally sluggish/unfocused. The public was as usual very discerning and I was pleased to see that all the people on my row were interested through the evening.

Anik and I met before the show for one of those chats that managed to mix the traditional opera snark, the chicken with four breasts and whether personal bunkers of hard liquor is the best answer to Europe’s current problems. At interval we were joined for impressions by another very enthusiastic WS, who has already put up a review which will hopefully answer the questions I skipped.

The good news is TADW continues to win at Baroque opera in concert.  Another good news is that TADW doesn’t object to taking your camera to your seat. The bad news is Quel torrente was cut again. And with Galoumisù so close at hand!


  1. too hastily, it seems, as “my” box remained empty. I thought about returning to it but then I wouldn’t have had Galoumisu eyes all night. 
  2. Don Giovanni in Paris last December. 
  3. why are Sestos always urged by strong women to stab someone? 
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ROH Winter 2017/18 tickets now on general sale

It’s bright1 and early here for dehggi, as the loot was worth it:

Semiramide with JDD/Barcellona/Brownlee/D’Arcangelo

Salome being Salome (even with McVicar’s vision); next year I’m spoiled rotten: two cool operas to choose from for an outing on my birthday! I predictably went with:

Il ritorno d’Ulisse because when Monteverdi calls one must answer, especially after the great success with L’Orfeo at the Roundhouse two years ago. Let’s hope they’ll livestream this one as well.

There was 0 pain getting in/booking this time. Good job ROH!


  1. actually, it’s rather foggy (but warm). 

The contralto counter-offensive

Since last year’s Juditha at the Barbican my appreciation for Andrea Marcon’s way with Vivaldi has escalated dramatically. I was casually going through a bunch of renditions of that badass1 Sorge l’irato nembo when I came across this one:

I really like the interesting way the B section is done here. It’s so smooth.

I wanted to write more on the subject (I love this aria – and all the other Orlando ones), post a couple more renditions but I am deflated from too much irl fuss this month so this is it. It’s a good moment to have Basso in the spotlight, since I don’t think I’ve done so yet. More power to the contraltos and their ferocious set of chompers!


  1. Isn’t Orlando the fount of the greatest Vivaldi arias?! 

Jazzy Sonia Prina (Wigmore Hall, 10 September 2017)

Sonia Prina contralto
Paolo Spadaro Munitto piano

Claudio Monteverdi (1567-1643)
Voglio di vita uscir
Lamento d’Arianna
Béla Bartók (1881-1945)
Three Hungarian Folksongs from Csík BB45b
Henri Duparc (1848-1933)
Au pays où se fait la guerre
L’invitation au voyage
Chanson triste
A piece from Feuilles volantes Op. 1
Manuel de Falla (1876-1946)
7 canciones populares españolas

Interval

Mátyás Seiber (1905-1960)
4 French Folk Songs
Fryderyk Chopin (1810-1849)
Chanson lithuanienne Op. 74 No. 16
Lamento Op. 74 No. 9
Madrigal Op. 74 No. 12
La jeune fille et le fleuve Op. 74 No. 3
George Gershwin (1898-1937)
The Man I Love
3 Preludes
No. 2 Prelude in C sharp minor
Erroll Garner (1923-1977)
Misty

Encore:

Bella Asteria Tamerlano

Don’t we all want to hear our favourite singers occasionally step out of the same old, same old?

No?

No?

😉

Regardless of what we want, they sometimes do. In this case Prina put on a dress and spent most of the evening crooning. One’s personality comes out well rounded in recitals and so there were still enough fist pumping moments as well as humour (the Bartók songs). Mostly, though, it was an evening that quite naturally lead into Bella Asteria.

Perhaps it was a logical response to unfamiliar sounds (though the songs in themselves were entertaining), but I’ve never heard a more beautiful rendition of Andronico’s serenata. This isn’t an aria that normally makes me purr, plus when she was in London for Ariodante she’d sung it in her BBC interview and I was quite unconvinced. But though she herself admitted she was tired, this time it came out really pretty. Her ppps were on fire all night, as was her phrasing.

The Duparc set seemed to me the most suited to her voice – she did it very low and velvety so now that I heard the songs that way I don’t want to hear them any other way. Her “vocal meandering” in L’invitation au voyage was exquisite.

The least suited was the de Falla stuff, which seemed to me like, in spite of her dramatic involvement, never quite bloomed. I kept thinking it needs ping, but aside from the tartness her voice gets at the very top when she’s loud, there’s no ping in her voice.

Baroque Bird joined me at the show at least in part because I managed to misplace all my Autumn Wiggy tickets and needed a reprint :o! She knows more about music than I do and she gave me some pointers regarding the piano, which is an instrument I don’t quite get (as in, I don’t normally know what I’m supposed to be looking for).

According to her, Spadaro has a particular feel for jazz so the second part came out more naturally to him. I was seated on his side and all I could say was that he was too loud in general. After she mentioned it, I could follow that he tends to finish songs quite abruptly, which on occasion I thought hampered Prina when was going for a dreamy atmosphere. But she likes him and she obviously teamed up with him for that jazzy feel she was after all night.

The jazz stuff sounded very well – Baroque Bird had come especially for that and was so happy with the result she said she’s all for Prina singing/recording more of that – and it got me thinking that Baroque specialists have the advantage of that more relaxed style of singing when it comes to song in general. It never felt like there was a break in styles, the show just flowed very naturally, though Prina did get into the spirit of things (I can tell you she had the right temper and timing for the Bartók stuff).

It left me in a very mellow mood, basking in her pps and tangy frutti di bosco gelato tone and wondering how things would’ve been if she went the jazz route instead.

Why is Trekkie Nerone singing Ottone’s entrance aria?

😀 look at those moves1! What formidable Ottavia can play this space-conquering Ottone?

ps: ever tried having your Ottone duet with himself on this? I accidentally opened two similar windows a few seconds apart and let me tell you = twice the fun.


  1. on second thought, forget Nerone, that’s Space Cesare right there! 

Sealed with a gif

I think Giulia will especially appreciate this 😉 I saw it years ago but it never gets old.

Speaking of opera gifs, it’s not only been Tito August chez dehggi but also gif August. This was one of the very first scenes I wanted to gif:

that sneaky manteau keeps coming back 😉

ps: …since we’re in gif-land and it would be a bit weird to keep making overly silly posts this side of tumblr, also check out the hysterical Musical Notation (with Cats) post.

ps2: how cool is THAT for an animated gif?! Brings me closer to (gif) deities etc.

ps3: haha! Ohttone…!

ps4: Romeo

Prom 59 2017: La clemenza di Tito (28 August 2017)

The usual thoughts on arias, recits etc. I’ll put this behind a cut because at this point I think it’s mostly of interest to me. Let’s look at it again when the DVD comes out next year. I’m curious how it’s going to feel from a few months’ distance. Read the rest of this entry

Tito at the Proms tonight (28 August 2017)

 

Tito17G

The bird we all love! 😉

Just a reminder, in case you haven’t had enough Tito this month: tonight the Glyndebourne team will be live at the Proms at 19:00 GMT for a last round of Tito. If you can’t make it tonight, you’ll find the concert archived by the BBC for a while (a month, I think).

ps: since I’m gif happy now (thanks for the relentless push, t 😉 ), I also added the Parto shake to the big WTF Medley post. You know you want to see it.

Tito under the mulberry tree (more Glyndebourne)

Intermission notes:

This time I cried during Del piu sublime soglio. Awesome performance from Croft.

Everybody is more relaxed by now, the acting flows beautifully. There are no more cameras.

Rookie audience:

Young woman at intermission: is Sesto sung by a woman? I kept wondering…
Other ladies in the loo queue: Yes, yes, he is. There was a cast change. But the reviews are about the one we’re seeing.
Young woman: oh, wow! Sesto is the star of the evening!
Other ladies: YES!

The only applause came after Parto. I was confused as it had been so beautifully performed, light and gentle, with some swoony ppp along the way (really moving) but also funny (Vitellia putting the moves on Sesto).

Especially in the wake of the Currentzis Tito I want to commend Ticci and Gupta on the fortepiano continuo for a very light, unfussy touch.

It’s raining. I took refuge under a very friendly mulberry tree with a cute little sleepy bird. How appropriate!

We had a weird incident on the way here, that held up the trains for almost an hour and a half. Luckily I was on a train ahead of the suggested train. The shuttle waited for the stragglers 🙂 but we only had 20min to settle and have a bite before curtain up.

Loud thunder was overheard in the auditorium just as the insurrection started on stage.

Staff offered umbrellas but I like my tree. Too bad I couldn’t visit with the sheep properly (now grazing on the adjacent meadow) ❤

Gent next to me in the auditorium: nobody dies! Not very operatic.
Dehggi: nobody should die. It’s all about the search for a better, more forgiving society.

the mulberry is split in two and the side on the right is propped up.

After the intermission:

This was an all around emotional day, as it was my last time at Glyndebourne this year, the end of “my” season (though I really would’ve liked to come back again a couple of times, but you have to observe life-opera balance). Also going to the opera on your own makes for a very different atmosphere, perhaps even moreso when it’s your favourite opera. Even so, a few conversations happened:

Lady who sat next to me for act 2: I saw you talking to the usher about those free seats up there.
dehggi: yes, I want to possibly upgrade because this is my favourite opera.
Lady: …of all operas?!
dehggi: YES! I really like the ideals, forgiveness… and the music is beautiful.
Lady: well, someone is always forgiven at the end of Mozart operas.
(dehggi: someone, even some ones but not everyone.) I didn’t actually say it, because I didn’t particularly want to chat, I was in my own world and cried again during Eterni dei. After the curtain calls I dashed out for fear somebody would notice how tearful I was. Also to be first in line at the loo.

On the bus there were two French people behind me. The woman thought the production was too “brutalist” and concluded “this was the new tendency”. I wanted to turn around and ask where she had been for the past 20 years. She did think the voices very good, though this opera was “by no means” one of her favourites (dehggi: eyeroll). Then she went on to wax lyrical about some wonderful production of Giselle at Opera Garnier.

At 21:30 the train station was almost deserted and the train board let us know the 19:30 was delayed. Some ladies started to make plans in case the trains were still disrupted. I said I’d help them split the taxi bill to London if it came to that. We co-opted some very excited Japanese ladies, so all in all, we would’ve been 5 to split that bill.

The train was on time. I’ve never heard the Glyndebourne crowd whoop so freely outside the opera house before 😀

Everybody said they liked the performance, very good voices. One of the “taxi planning” ladies explained trousers roles to me 😀 Then I somehow got to talking about the earlier Hamlet production/opera with the other taxi lady. She, like the gent sat next to me at that performance, loved it (the actual music)! She also thought the production was “more modern” than this one. (dehggi: head scratching moment. Maybe we were thinking of different things?).

In the end, there were three arias that received applause: Sesto’s and Se all’impero (<- a lot more than for the livestreamed performance). However, there was very loud thumping at curtain calls. I guess this audience is more used to lieder? Heh. I’m not quite sure why they kept their appreciation to the end if they actually liked it this much. There was, however, a lot of laughter, even during Vengo…! Aspetatte! I agree, it’s a funny moment.

La clemenza di Tito or the return of evil Sesto (Glyndebourne, 31 July 2017)

(1) Guth managed not to fuck up this Mozart! (praise the gods)

(2) Mezzo Vitellia = YES! ROH take note. It’s time to bring Tito back to London.

(3) DVD! Not only a livestream, a Proms stint but also a proper DVD is in the works. 4 Cameras were in the house yesterday. Glyndebourne does things in style (also it was high time they put the old production behind).

Tito: Richard Croft
Vitellia: Alice Coote
Sesto: Anna Stéphany
Annio: Michèle Losier
Publio: Clive Bayley
Servilia: Joélle Harvey
Conductor: Robin Ticciati
Orchestra of the Age of Enlightenment and The Glyndebourne Chorus
Clarinet obligato: Katherine Spencer
Director: Claus Guth

When the last echoes of the Act I finale faded I thought to myself I don’t want to wait for 1 1/2hours! At the end of Act II I said I was ready to come back and see it for the rest of the week. Guth and team have put together a highly cinematic Tito.

I kept my mind clear of any reviews before this report so you shall see for yourselves on Thursday and make your own judgments. So far, though – and you know how it is when you have to focus on everything at once and can’t stop the show and “rewind”, or go to the kitchen for a moment and ponder, and especially when it’s your first time seeing your favourite opera staged – I am very pleased with Guth’s take on it. It’s dark but it’s not quite as angsty as I feared (certainly not as angsty as his TADW Poppea). Ticci himself opted for a super clean libretto to go with brisk – rambunctious, even – tempi. The house was packed and the applause generous throughout plus lots of stomping (especially for Stéphany) at curtain call. I am of course very happy to see such a hearty reception for my favourite opera 🙂

We did not luck out with our seating. It seems there’s an unwritten law that says lots of the action in a staged production shall happen on the right side of the stage (from the audience’s perspective) – unless it’s Wagner, says Leander (read her take on this performance of Tito here), who actually sat through 5 hours of Tristan for Connolly’s sake. We, of course, had seats on that side of the horseshoe). So we did miss a fair bit of the action (such as the shooting of fake Tito). I’d moan more if there were no livestream and DVD or me going again next week.

Evil Sesto. Sometimes Guth’s interest in deeper psychological investigation pans out. Here we have the return of the lesser spotted evil Sesto. Normally we know who our baddy is. In this case Vitellia is ambitious and dangerously driven by scorn but it feels like high drama would’ve been averted had Tito simply made the nature of his generosity clearer. Moral: if you pride yourself on working for the higher good, take time to speak to all your subjects, lest someone feels shafted due to miscommunication. People aren’t used to such levels of goodness and they might take your kindness for love.

But what of Sesto, eh? During the overture we had video projections. Praise the lord, they do serve a clear purpose here, as they give us a snippet of Tito and Sesto’s friendship. It’s a neat little black and white short that focuses on a key moment of their childhood. I won’t spoil it for you if you don’t know yet what happens. Watch it on Thursday 😉 Let’s just say that it tells us there is something inherently wrong with Sesto. I’m game with that! Guth gives us a possible answer as to why Sesto keeps getting into these ambiguous relationships. It makes that line ch’io son l’oggetto dell’ira degli Dei work for us 21st century audiences.

It’s kind of interesting that Stéphany ended up playing this new incarnation of evil Sesto not that long after her stint in the Zurich production of the original evil Sesto. Whereas that one was very self aware rotten, I feel this one is bad in spite of himself. He doesn’t want to do harm but he keeps succumbing to those atavistic impulses. I like it. The black and white short’s atmosphere reminded me a bit of Haneke’s White Ribbon. (Speaking of films, a favourite of mine – and if you know it you won’t be at all surprised I like it -, the Japanese classic Onibaba, also has sex, betrayal and revenge happen within a world of tall grass).

As you (may) know, my previous experience of Stéphany live left me very unimpressed with her acting abilities, to the point where I purposely missed that particular revival of the Zurich Tito, even though it’s one of my very favourite takes on the story and I would like to see it one day in the house, if they still hold on to it.

Before the show started I said to Leander that I’m open to possibilities, as long as the whole works out. And I have to say that within this whole Stéphany did work out. Leander herself, who bitterly lamented the cast change, ended up saying she did not miss Lindsey in the end. The public gave her stomps. So you know she must’ve done something right.

She did. Her singing was technically flawless. The coloratura was as flexible as anything (what is it with French singers and top coloratura chops?), she divested herself of a couple of well placed and new to me flourishes on each of Sesto’s big arias and the initial partos had individuality enough to inform us of his bravado/indecision. She made a surprisingly convincing troubled young man (early to mid 20s?) and would’ve done so even absent the (well done) facial hair.

For me she was just short of spectacular because I still want more (or warmer?) charisma in Sesto, more can be done with Deh, per questo aside from beautiful/energetic singing and I also want a ringing chest touchdown in Parto, and, of course, a truly memorable voice. But that’s me with my standards for this character, which have prevented me from settling on a number of staged productions until now. You can argue this quasi-psychopathic Sesto does not need the warmer charisma, Leander will say her voice is finer than Garanca’s. I may yet grow to like the performance more upon further investigation, because I am already a big fan of the Tito/Sesto background story.

the image belongs to Glyndebourne

900 words before we get to Vitellia. Let it be put in print that Vitellia is hands down my favourite role for Coote. I like her even better here than as Ruggiero. What I was saying about her voice’s texture proved true. YES! We need a mezzo Vitellia more often (3 mezzo Tito = for me! 😀 ) and those who are willing, let them sing the hell of her.

I don’t know about the neck brace, but I had no problem whatsoever with her singing last night. It got to the point where I was thinking: why do sopranos sing this role, again? And you know how I love my Roschmann1 Vitellia, which I should re-listen to see why indeed. (With a mezzo you don’t get the intended screechiness but you get more unshakable power instead). Coote’s voice has got the right warmth and weight and she managed the high notes like the pro she is. I’ve seen her quite a bit this year (1 x Octavian, 2 x Ariodante) and I have to say, the woman knows how to sing.

Baroque Bird was asking what is she known for? (as in what genre). And I said, everything! She is at a point in her career where she can navigate everything, reason for which I vote she sings more of this stuff – earth to ROH again. I guess you could – and after the livestream I probably will – make a deeper analysis of her performance but for now I will just say I simply loved it, the rather benign crankiness and the coogarness of it. She’s a determined woman and she found a way to get what she wanted – but didn’t realise she unleashed something she couldn’t quite control in the end.

Guth isn’t very focused on Vitellia, having established she’s rather succumbed to wishful thinking and misunderstanding than pure evil. She’s ambitious enough to manipulate Sesto but her contrition at the end of act II is unusually credible. Her and Tito’s interaction is likewise warmer and more mature than usual; they are more together as people than in most productions. She’s getting more and more annoyed with the turn events take and is chain smoking in very tall grass, which caused Baroque Bird to suggest she could’ve set the Capitol on fire all on her own 😉

Vitellia (act 2 finale): Tito, I have to tell you something.
Tito: what is it now?
Vitellia: I started the fire. My chain smoking got the better of me.
Tito: Romans, keep Rome safe! Quit smoking!

Tito. We had a bit of a laugh at the intermission, what with the childhood short where Tito seems older than Sesto but not quite as much as the obvious age difference between stage Tito and Sesto. I joked that perhaps suave Sesto (is there any other kind?) has his Dorian Gray portrait in the attic. I wouldn’t put it past this child of the corn.

Age difference out of the way, Sesto and Tito share an interesting natural feel that I don’t know that I got in other productions. Usually much is made of the stunted relationships among the characters, which is reflected by a stiffness in their interactions. Here we have a moment where, in a rambunctious effort to get through to his best friend, Tito lifts Sesto off the ground, in a gesture that is both chummy and manages to draw further attention to Sesto’s apparent youth – which he (Sesto) does not seem to like.

Their age difference can point out their different levels of responsibility/maturity. This Tito is very sane (though his limits are pushed) and a down to earth man, with a higher than usual (even among Titi) common touch. Yet he is forced in a position of power which finds him removed from the very people he wants to be close to. That’s true to life. Once you get in a position of some sort of power, everyone, even those closest to you starts to treat you differently.

There is that moment when a frustrated Tito asks Sesto if he hoped to gain happiness by attaining power and Sesto says no. Well, perhaps Sesto would benefit from becoming more responsible. But this one can’t.

Croft is here perhaps the most self effacing Tito I have seen. He too is a cog in the system. His subjects (the highly stylised-moving chorus) seem to act of their own accord, their adulation towards their leader a given but also a powerful force. Guth elects to use Serbate, dei custodi as the mob casting out Berenice2 rather than as an ode to Cesar. Another touch I really enjoyed.

So in the end, when Tito decides to defy the gods (mob?), it feels like this is his own breakthrough, with Croft conveying that with much clarity mixed with that specific brand of vulnerability that makes his characters so human with so little apparent effort. His Tito knows it’s dangerous to meet badness with understanding and kindness but (in the long run) it’s worse to perpetuate the cycle of violence and if there is one thing he can do from his position is attempt to break this cycle.

Croft’s singing is also off the cuff, so when he gets to toss the endless coloratura in Se all’impero you may be fooled it’s no biggie. He puts the benevolent in benevolent ruler by voice alone and Tito’s mission statement comes off a less like a here’s my big aria! moment and much more integrated into the whole. It’s a rare achievement.

Tito’s 1:1 with Sesto also benefitted from Croft’s unfussy Tito. It was easy to believe him when he told Sesto I’ve never hidden anything from you. Their interaction here was, as it should be, driven by a genuinely friendly Tito. I think this particular Tito’s drama is that he isn’t unapproachable like others tend to be. He lost his approachability due to his position instead of something he has or hasn’t done.

… there is more I want to say and surely it needs further pondering but right now I have to stop short to post this even if it’s not completely done. Rest assured I’ll have more to say in the next few weeks and again when the DVD comes out.

Two more things before a more step by step rundown after Thursday: the clarinet/basset horn was fab and the chorus, drafted at the back of the stalls/under the boxes during the Act I finale was in very good form – and very effective due to the positioning (shouts of tradimento! coming from underneath), sending shivers up my spine.

As I was saying, there were some harkbacks to the classic Salzburg Tito, among them the tiered structure, about which Ticciati gives a neat little explanation below:


  1. And Naglestad and Varady and Gauvin. And Antonacci (but that’s cheating, she’s the quintessential mezzo/soprano). Saying that, come on, why is she not singing Vitellia again? 
  2. This is the kind of production where Berenice makes appearances.