Category Archives: mozart
A reminder to tune in right now for Betulia liberata (featuring Galou and Piau), just in case you haven’t had enough of Juditha over this period 😉
To begin with, the tenor has a proto-Se all’impero type aria, hehe. There is a tenor. Is he Holofernes?
Have you ever wondered why none of Mozart’s best known operas are based on biblical subjects? Could be because they all end up sounding like bedroom dramas/dramedies 😉 The recits for sure.
This must be Juditha; she’s not exactly heroic but she has some very high notes. Piau sounds different in Mozart but beautiful nonetheless. The tenor: blah blah. Juditha answers back. He must be Holofernes, indeed. She sounds sort of like a particularly en garde Susanna. He sounds like a Mozart tenor that is not portraying royalty.
I know this aria! Unless I’m thinking about a Haydn aria. Nope, it’s this aria I’m thinking about. The one here is neither but it’s pretty good, finally something rather heroic. Well, finally – we’re not yet half an hour in.
As I understand, this is being held at Haus fur Mozart (it’s part of Mozart Week 2019), which we know and love in all its splendid poshness. The audience is very appreciative, they applau after every aria.
More tenor; he’s fretting (like Mozart tenors are wont to). The chorus mirrors his fretting – see what I mean about sounding like a bedroom dramedy?
A minor key aria, oh no! His nookie chances have perished for the moment. Pieta, signor di noi! He really says that. Wait, maybe he’s not Holofernes? It’s a bit serious and the chorus joins in. Maybe he’s… Ozias? Mozart, help me out here. Are we supposed to laugh at him or cry with him/them?
Anyway, it’s kind of an interesting mood, quite far from great Mozart but onto something.
More budoir-chatting recit. Oh, look, Galou showed up. Who is she here? She seems alarmed. We hope for an angsty aria. It’s a rousing accompanied recit, pretty decent writing from Wolfie, great agitation from Galou. Cool, how about the aria now? Hey, it’s actually a mid-tempo number with trills. Who knew! She sounds interesting in Mozart, more mezzoish than usual. She’s hoping for something, but who isn’t in this scenario? She seems to be vaccilating (also known as the typical mid-tempo number with trills). Oh, no, a Mozart character who is undertain of how to proceed further?!
The audience is so well behaved, even the contralto gets applause! Aww, and I always make fun of the Salzburg crowd 😉
Speaking of preghi sinceri (sp), is she Holofernes or what?
The tenor and the choir return for a honest to god (no kidding) dirge. He could be Ozias. A tenor Ozias?!
No answer to preghi, some bass showed up. I think we’re doomed. Whoever he is, he’s also nowhere near as calm as the Assyrians over at Vivaldi’s. A fretting buffo bass is amusing.
Yes, an aria with trumpets! NOW we’re talking. The buffo bass reminds me of the cuckolded husband from Lo sposo deluso. He must be Holofernes. I think we’ve established by now that everyone else save for Piau could be Holofernes 😉
Wait, the amorous tenor is speaking to Galou and calling her Giuditta. Err… ? Haha. Total confusion chez dehggi.
I DO know this aria! It’s… it’s… hold on, I know it. It’s… something that Hallenberg sings. Parto inerme! e non pavento! So Galou’s made up her mind and she IS indeed Giuditta, because, hello, she’s going unarmed. So she’s the one chopping heads in this one. Who is Piau? Abra? Piau is not Holofernes 😉 I’ve never heard Galou sing Mozart; she’s stylish as usual. I’m still not sure if Wolfie’s music best suits the colour of her voice. I mean she sounds good and all but I’m not sure she sounds great like in the Baroque rep. The audience loves her. Aww. I think she’d got more applase here than in the Baroque I’ve heard her where she stole my heart. Such is life eh?
The choir gets all verklempt over the gran cimento she’s getting herself into. I wouldn’t advise anyone to play with cement either. Even the choir gets hearty applause. Hey, Salzburg fans, go easy on the cider.
We understand from the commenter that Holofernes has not entered the building yet! This was all in the Bethulian camp. So, there you go, the Who is Holofernes? game continues.
Apparently there is a theological debate going on, as the next (tenor) aria features the line “if you want to see god”. Could’ve fooled me, it sounds along the lines of Del piu sublime soglio. And dude, does it go on…
The tenor/Ozias really has a lot to sing in this one. They are some
long neat mid-tempo Tito in training arias. The audience will get sore palms by the end of this performance.
The Bethulians can’t deal with the tension, Giuditta is not replying to texts. Answer: angsty-storm aria!
I’ve heard this one, too, though I can’t name it – something heavily featuring procella and naufragar, of course. I have to say that Haus for Mozart, although the small hall out of the three, isn’t exactly that small. Would have been intereseting to hear how Piau and Galou managed. Their style is great. The audience has been building up their cheer and I think they likes this one best. Piau’s coloratura-fest was ace.
To the fields! They are all basket cases. Oh, Giudatta’s back, thank YWH! You do get that nice effect with a contralto/dark mezzo tone, where you don’t have to do much to get everyone to calm down: just open your mouth. Giuditta gives a heartfelt speech and you bet they all hang onto her very word. Well, I did and all the way from here at that. Aha, she’s already built her plan, she will attack whilst he’s asleep. Good idea, Giuditta, I heard it works rather well, especially if your Holofernes is a burly chap. She’s quite verbose, let me tell you, but that just means more Galou sounds. Maybe she told them everything in great detail. I think there is also something else she tells them: listen to Vivaldi’s version 😉
There is quite a lot of wringing of hands this side of the 18th century.
Prigionier che fa ritorno – is this an aria we should know, or is this just one of those Metastasio stock phrases? They do like to give Giuditta mid-tempo stuff with very long held notes to sing. Come on, I want something fist-pumping. Then again, Galou gets some neat emotion in this one – she sounds more like usual self here. This Giuditta is much less angry than the Vivaldi one. I think she may enjoy the spotlight a lot better.
The buffo bass is pooping his pants for some reason. Take heart, dude, Giuditta is doing just fine, judging by the above aria. I think he loves her or something. Te solo adoro, he says in a – you guessed – mid-tempo aria with trills. His trills are kinda nice. Also, nice pp I wasn’t expecting on eternita (they all get philosophical). I think he’s a bass-baritone – a nicely toned one. Tentative applause, no! He did quite nicely.
More fretting in Bethulian camp. And another mid-tempo aria with… Pieta, signior, pieta – now for soprano, with some nice pp. The deal seems to be this: the Assyrians are attacking. The Bethulians have prayed very hard.
Bethualians: YHW! Pieta, signior, pieta!
Giuditta: clearly, someone has to do something.
Ozias: YHW bless you, noble widow! We will pray for you.
Buffo bass: she’s so hot when she gets bossy.
Bethulians – in this case, Amanda Forsythe – are still busy fretting. Major fret aria, so-so on the Mozart scale. They keep talking, obsviously Giuditta is busy… wait, she’s back. I wonder if Metastasio was short on funds and couldn’t afford the Assyrians in this libretto 😉
The choir is back and so is Giuditta – together. Nice idea, could be a powerful scene to stage. We need more Galou + choir, smartly conducted, though. Very nice ending, Wolfie recovered well.
Well, is it?
It depends. It’s certainly rather too long. The story has potential not matched by the librettist’s skills. The mezzo hopeful doesn’t have access to any arias on the level of Parto or Deh, per questo…
But there is a ravishing duet that does often include a mezzo and there is Fuor del mar for the Mozart tenor. Most famous of all is Elettra’s showstopper. And lest we forget, the choruses, which do rival Tito‘s (I have been quoted in the past saying they are better. Again, it depends on who’s conducting/singing). Also, Mozart himself was very excited to write it and there are many letter back-and-forths between him and his father to document the (not particularly smooth – due to external forces -) process.
Conclusion: mixed bag. Definitely worth a listen but pick your conductor/singers/chorus combo wisely. Make sure your Idamante is a mezzo, the other options simply fall short here.
Yes, it’s that time of the year again when we harvest what we sow. You may have noticed I’ve been rather quiet this month but the backstage has had some activity recently, with yours truly busy tinkering at this little gift which I hope everyone who reads the blog will enjoy 🙂 and if you don’t… well, you can skip to the 12:55 and listen to Eterni dei, in a version I’m sure you will recognise.
Ep 3: True Crime Tito
Without further ado, here’s episode 3 of the opera. innit? podcast, from which I drifted away a couple of years ago due to it taking too long to produce. But I like to hear myself talk too much to actually give up, even in the face of laziness (which I admit is one of my – very few 😉 – weaknesses) and competition from pressing “real life” activities.
So, yea, that’s where you get after years of thinking about Tito too much and talking about it too little (although, thanks to you, dear reader – and often more than once, opera buddy – I’ve talked about Tito more than I thought I ever would 5 years ago).
edit 17/10/18: sounds like Vesuvius may have erupted later than we’ve thought for hundreds of years… rather after 17 October 79AD than on 24 August 79AD…
Giulietta Simionato is one of my (few) favourite Romeos but I just found today – whilst researching the state of Tito nowadays – that she’s ended her illustrious career (willingly) singing… Servilia in La Scala’s small hall. File it under odd choices to go out on. It’s interesting, but more like how Annio would sing it (obviously):
ps: don’t get excited, it’s not her singing Non piu di fiori later – though it would’ve been cool for her to sing Vitellia, however she apparently made her decision late in the game (every other role was taken). So, yes, La Scala allowed Tito about 90 years ago – in the small hall, mind.
Tito month finishes today, so let’s part with this burning question.
It’s no mystery that Tito has largely been rescued from its den of disdain and most of the important opera houses are now regularly programming it. Except for one. Ok, two, but they other one is stuck up.
(It’s all in random, vaguely geographical order and I’ve only researched the houses that easily sprang to mind; it’s been done in other places as well, including Prague and I managed to miss that)
Barcelona: 2006 (about 100 years ago, but with VK and Gens/Penda, so we’ll forgive them)
Hamburg: 2018 (Theater Hamburg, but still!)
Milan: forget about Milan, they don’t do this kind of thing (but they will do a Giardiniera this year?!)
Salzburg: 2017 (who wants to see the Parto clarinet jam again? 😀 ) article title: Salzburg, music’s Disneyland… I’m not sure if I strongly agree or strongly disagree
New York City: all the damn time! Returning it again in 2019
London: 2002 (I know they can’t get over VK not singing Sesto anymore, (ha.ha.) but still)
Seriously? 2002? Since then we’ve had 2344587 Nozzes, a new (and reviled) Idomeneo, the old, fun Mitridate, a new Cosi, a new Don Giovanni, revived twice in quick succession, the good old Zauberflote a couple of times – but no Tito. Come on, ROH, freakin’ La Scala is doing Giardiniera!
On the bright side, Opera Firenze is doing Tito next year, so maybe a reason for me to visit Toscana? Conducted by Sardelli and with Bridelli as Sesto… It’s in March, though. Antonio Poli is Tito, which means he will sound beautiful and act like a log.
The Dehggi Tito Prize goes to Paris in general. Here’s a city that loves its Tito so much that they run concurrent productions at different theatres 😀 (Garnier had it in 2013 before bringing it back last year).
Runner up: New York City. I may enjoy talking bollocks about the Met but they are consistent about programming Tito (and that is one of the good things Levine has done in his life).
I’ve recently (ok, sort of) written my impressions about this production, but here are a few notes on a performance I attended in September 2013:
This production is extremely detailed and requires a lot of acting even by today’s standards. Let it be said that the interactions were as smooth as anything. Obviously well rehearsed.
First off, as with a humongous war horse as Nozze, the hall was full from top to bottom. I nicked a seat in the Stall Circle left which gave me an excellent view of the orchestra and a dead angle for the extreme left of the stage, plus muffled sound. The good part was being so close to the action (the singers were within sight 90% of the time) and being able to hear the pinanissimos. No objections on the conducting and the orchestra; some nice touches here and there but for the life of me I can’t remember where beside the “knowing” horns in Figaro’s aria from Act IV.
Figaro: Pisaroni makes a youthful, playful Figaro, both in voice and acting. He was hilarious and his interaction with Susanna and everybody else outstanding. You can tell he’s been singing Figaro for a while. He hasn’t got a lot of volume to his voice but he had a pleasant, smooth sound through the night.
Contessa: Bengtsson’s voice is truly beautiful and well suited for the Countess – secure, warm, round and plaintive with excellent technique. Acting wise, I’d have liked a better timing for comedy and a bit more guts in her interaction with the Count. She played it all a bit too dignified for a character who was Rosina of Il Barbiere just a few years ago.
Cherubino: oh, dear! Pokupic makes one of the cutest, funniest Cherubinos I’ve seen. Spot on and excellent voice. Had the crowd in stitches, especially in the garden scene in Act IV, when trying to put the moves on “Susanna”.
Don Basilio: JP Fouchecourt came as a replacement but he blows the 2006 DVD Don Basilio out of the water! He camped it up just right and delivered a hysterical performance of the meddling music teacher. I’ve known him from Baroque recordings but never realised he was this funny. Possibly the best ever in this role.
For a more rounded writeup, check out a review of another performance from the same run from operatraveller.
In which we (ie, I) return to Tito after a very long break and find new (to “us”) voices, pleasantly re-acquaint ourselves with older finds and get a few surprises, some good, some not so good.
Tito: Rolando Villazon
Vitellia: Marina Rebeka
Sesto: Joyce DiDonato
Annio: Tara Erraught
Servilia: Regina Mühlemann
Publio: Adam Plachetka
Conductor: Yannick Nézet-Séguin | Chamber Orchestra of Europe and RIAS Kammerchor
Overture: notable for its pregnant pauses, though less pregnant than Currentzis’. Those ones are preganant with sixtuplets.
Ma che…: pianoforte a bit loose in the joints; nice tone from Rebeka, actually. Never heard her before, but she can do recit quite excitingly. JDD is a less nervous Sesto than when I last heard her; more authoritative than you usually hear him, with a touch of introversion. Good balance between the voices though I wouldn’t say any sexual obsession is conveyed. Surprisingly, Sesto falls like a souffle in the end. It’s the longer version of the recit.
Come ti piace: Sesto rocks the rubato. Sounds a lot like N-S lets JDD lead. Rebeka comes in guns blazing and she can hold that with the best of them but it’s nothing new as far as Vitellia is concerned. The ending is beautifully executed but again, nothing overly exciting.
Annio shows up: he’s no-nonsense, Tito is waiting! Vitellia mocks him. He doesn’t care. O virtu…! comes off… I’m not sure how, sort of like Sesto is reading about Tito. Annio and Vitellia sound more alive than him.
Deh, se piacer mi vuoi: maybe not the sexiest inflections on the market but Rebeka has a very good looking tone and an impressive range.
pre-Prendi recit: The continuo is a bit gentile for my taste. Annio and Sesto are cute together.
Deh, prendi: go Annio! one feels the Romeo and the Octavian in Erraught’s enthusiasm.
March/Serbate, dei custodi: a bit funny jumping from Nerone’s court to Tito’s court with 150 musical years in between. Choir sounds rather telephoned.
This version has the long text of the Bring gifts to Tito! bit. Villazon starts well but he does soon sound like he’s ready to take flight rather than saying words. Or maybe I’m still mentally with Poppea and 150 years later recits are naturally a lot more stylised.
March reprise: it’s there and I always like to hear it but that’s it.
Annio : Sesto : Tito: Annio is eager, Sesto very timid. Tito still taking flight, especially on oggi mia sposa sara la tua germana!, which sounds as if he’s reciting and ode. Annio is the most natural and effective here. Wait, seriously: Erraught sang Sesto in Munich, why is she Annio here? Reason why things shouldn’t be planned too far in advance.
Del piu sublime soglio: Villazon starts it alone, which is not necessary a good idea, as he inflates sublime in a strange manner. His tone is actually not bad but he doesn’t sound dramatically involved enough – or in a manner that works for me. Maybe someone needs to pair him up with Garanca, then we’ll have two people singing it whilst thinking about how to make every note beautifully follow the other.
Non ci pentiam: Annio is trying to make the most of his predicament. He’s upset but heroic. I like Erraught’s way of going about the recit. Why is she not singing more Mozart? Servilia is also ready to fix things; these two always (ok, most times) bring a smile on.
Deh, perdona: in this case it’s very easy to tell them apart in the duet. Another aria that sounds nice enough but nothing earth shattering from Maestro.
Tito : Publio: Villazon reminds me of someone else but I can’t tell who. His Servilia, Augusta! is pretty nice – more surprised than besotted. Nice delivery from Servilia. She has such a Mozart voice! Sounds like she’s just stepped off Entfuhrung. There is a lot of stuff Tito has to say. It’s definitely the long version of the recits.
Ah, se fosse intorno al trono: it’s a lot better than I expected. Perhaps because it’s naturally more “shouty”, but Villazon has the right reading. Well, I’ll be. If someone told me the most I’d enjoy Villazon would be as Tito I’d have thrown down. Or something. The truth is I wouldn’t mind listening to his ‘Fosse again.
Vitellia : Servilia: Servilia isn’t scared but makes the exchange short, nonetheless.
pre-Parto recit: Rebeka sounds fresh, with just the right amount of sarcasm, JDD not so much (there comes a time to leave Sesto behind). Rebeka needs somebody as fresh as she is for a foil to her voice acting. I quite enjoy listening to her, a very nice find as Vitellia.
Parto: hm, there is a weird energy in how JDD phrases her initial double parto, reminiscent of how Villazon did his Ah, se fosse. Interesting in a way – a sort of going forward and breaking at the same time, but also not quite fetching. What I notice is JDD’s foray lower then she is known for (though not on that potentially super sexy belta; ok, everyone should have their trademark way of doing Parto). Her coloratura is as strong as ever yet she sounds heavier or darker otherwise. My conclusion is this is far from her most exciting take on Parto.
Vedrai, Tito, vedrai…!: very seductive mix of threat and self satisfaction from Vitellia, I like it. Publio and Annio are rather chummy.
Vengo! Apetatte… Sesto!: of course attending live shows is exiting (sometimes deliriously so), but there is a downside: you’re really spoiled for spontaneity. I find it very hard to get in the right mood for studio recordings, where everything sounds so obviously polished. It’s a very good version of Vengo! but I’m really dying for something to go slightly awry or at least not to feel like there’s a team of engineers trying to fix whatever vocal/techinical limitations might come up and in the process, smother the life out of it all. [earth to dehggi: this is apparently live. Dehggi: is it?! No, really: is it?!]
Again and again the feeling returns that this is all (the recording in general) very competent but no much beyond that (except Rebeka’s tone and enthusiasm for the recits – she’s been robbed of a better (really live) environment for a recording of this role).
Act I finale
Hey, JDD woke up! As we know, this is the moment when Sesto can be rescued from mediocrity if things (in this case, the drama) hadn’t gone anywhere fast up to this point. I can’t shake the feeling that, in spite of JDD’s experience and long list of qualities, she’s just not Sesto at this point in her career. She can phrase and she can dose her energy for this mad scene but the emotion feels generalised instead of raw. More attention seems put into rolling the Rs than into Sesto feeling overwhelmed by what he’d got into. JDD also doesn’t sound young and scared anymore – or even just scared. Her Sesto seems rather annoyed with himself – I can’t believe I’ve fallen for Vitellia’s trick – again!
By contrast, Annio, Servilia and Publio sound engaged. When everybody gathers together, Maestro speeds proceedings up a little too much, so that the choir’s interventions of ah! sound almost glib. Rebeka comes to the rescue again. Her Tito…? is tentative, as if Vitellia is scared even to call his name as she can tell the news can’t be good. Then taci, forsenatto! has he back in control again. The choir is a bit too resigned-mournful, so the sudden brass “screams” seem overdone and it all fizzles out before you realise.
Act I conclusion: JDD a disappointment, Rebeka a very welcome find, Erraught should’ve been Sesto1, Mühlemann endearingly eager, Maestro not sold on this opera, Plachetka solid and Villazon better than I ever imagined, though far from a Tito for the ages. With so many Tito recordings on the market in recent years I’m not sure why this one ever happened, except the young gen of conductors eager to leave their mark – or at least tick the box – on Mozart. I hate to say it, but I’ll take Currentzis’ exaggerations over Nézet-Séguin’s lack of ideas any day. But maybe I’ll be more engrossed in Act II…
ps: that’s gotta be one of the poorest CD covers I’ve seen in ages. Tito’s back of the head? Seriously? And why is the standard so badly placed within the composition?
Annio : Sesto: helpful Annio 🙂 Sesto is finally alarmed. Annio doesn’t want to hear whinging, he says: wipe your boogers and focus on the fact that Tito survived!… Wait, you’ve actually done it? DUDE, WTF?… Anyway, nobody can prove anything so STOP whinging!! Sesto dithers some more but Annio shakes him. I’m gonna be the helpful friend whether you like it or not, brov.
Torna di Tito a lato: beautifully, sensitively done – with heroics thrown in.
Partir deggio…?: Sesto continues to poop his finery, Vitellia is dramatically appealing to his fidelity, he raises to the bait, she gets sarcastic. Not bad.
Publio : Sesto: Publio is no-nonsense but not cruel, almost friendly. Sesto has gathered his courage back; seems like he only falls apart with Vitellia. But he’s also quite annoyed with her. I find the harsh dramatic contrasts JDD employs a bit blunt for Mozart.
Se al volto: Sesto’s start is rather good, nice employment of soft trills. Rebeka uses similar strong contrasts as above in her delivery and although I really like the ease with which she transitions from one to another (and her incursions at the top of her voice, which is beautiful and flexible), I still don’t like such rather overblown dramatics. I think I should blame Maestro? Plachetka’s Publio is again solid.
Si grazie si rendano: the choir isn’t bad here. I wish Villazon toned it down a bit, it’s a no-shouting moment. His Tito sounds like he wasn’t even in Rome when the fire happened. Introspection = a very Tito quality.
Publio : Tito: Publio is very hush-hush. I guess this one likes Sesto. Tito doesn’t sound particularly upset by the news but uses the end of the phrase for another shouty-McShout. And yet, he can do pp – if only he thought about it more often and how this should be the basis of characterisation.
Tardi s’avvede: Plachetka’s a very honourable Publio; this is a very civilised court. Along with the hush-hush recit he uses the softest tardis in the repeats. It’s very cool in itself and very dance-y. Diplomatic Publii are a thing.
Tito : Annio : Publio: Tito is confused, Annio barges in (also in a civilised way), Publio gets gutsy, Tito is finally crushed. His Annio, lasciami in pace! is the most heartbroken I’ve heard yet. Villazon gets points for originality. I can work with this stuff.
Tu fosti tradito: Annio for emperor! So heroic 😀 and yet there are softer moments and Erraught can spin a trill. A bit acidic at the very top but it’s that aria. Easily one of the most involved and effective Annios out there.
Tito = OMG!: finally a moment for Villazon to go all Puccini and not sound funny. It’s ok for Tito to sound on the brink of a meltdown. His delivery is pretty convincing.
Quello di Tito e il volto: this is definitely a Tito + Sesto = friendship (but possibly Publio hearts Sesto) kind of Tito. They are very balanced and dramatically more suited together than with their respective women friends. Maestro uses that rubato at the end almost as if he remembered it at the last moment.
Tito : Sesto: Sesto sounds ready to lose his shit again. Tito sounds very hurt and doesn’t try to hide it. Sesto decides to try for heroism but it doesn’t quite work (not that I think JDD wanted it to). It’s one of those it’s not you, it’s me kind of cringe-y moments. It’s also very long. There is a lot of emotional fretting being thrown about, though… at least they are both on the same page of dramatics. It’s probably more akin to how they did it at the London premiere in 1805.
Deh, per questo instante solo: this is not how I remember JDD’s voice. I don’t know how this voice is. It’s like everything else is there but it’s missing its Mozart shine. Too much belcanto? Too much soprano? It sort of doesn’t sound like a trouser mezzo voice anymore – the genderambiguous charm, the emotional youthfulness2. It’s darker, but soprano-dark. Has the centre of balance changed? Unsurprisingly, the most memorable moment is the trill up at the top of the voice (on questo cor).
Tito ponders: I like the darkly phrased vendetta… otherwise it’s a pretty straight-forward Tito. I like him but what can I do??? thinks Tito. His heartbreak is very much of the heart only. Publio tries to figure out what happened.
Se all’impero: I don’t know if sounding insecure is by design but it actually fits Tito’s reluctant decision.
Publio : Vitellia: it’s a very diplomatic conversation, neither wants to give their hand away.
Vitellia : Annio : Servilia: everybody is alarmed. Annio, as usual, wants things done already. Vitellia is still able to keep up appearances. Servilia isn’t easily fooled.
S’altro che lagrime: not sure if the continuo was needed to segues into S’altro. Mühlemann continues to sound like a very young Mozart heroine, with a beautiful top for the gioveras.
Ecco il punto, Vitellia… : Rebeka begins cold but slowly, slowly, the more she says Sesto’s name, things are starting to fall apart. Somehow she manages to sound distressed without the usual ugliness. It’s still not entirely thawed, in contrast with Sesto and Tito’s emotional wrecks.
Non piu di fiori: I guess the descent into temporary madness could be more gradually described but her use of range is the best this side of Erraught. The low G is on pieta and it’s not overly ugly but rather solid. Like with the rest of this recording, all that’s missing is some interesting ideas.
Act II finale
The orchestral sound is a bit thin but the choir is up for grandeur. Tito is more or less calm again. This is the Tito who puts benevolent into benevolent ruler. Vitellia gets low range gutsy – yes, please. La tua bonta is said in such a… casual tone, I guess, it’s surprising but not very dramatic. I mean, has she already got over the fact that Tito is BENEVOLENT? It was a big enough deal in the morning that she wanted to get him killed. Tito is, of course, not that observant, and instead he goes on declaiming about his generosity. Puppy-Sesto says he’s way touched. Tito strokes his head and gives him a kind biscuit. All is good again in the world. The women’s voices do blend very nicely. Eterni dei sounds suitably grand. Villazon suddenly gets a Kermit voice for il ben di Roma and is a bit lost in the general praising of himself. I like more presence from the male side in the big chorus moments (speaking of which, what happened to Publio?! Should we be worried?).
The conclusions from the end of Act I still stand. I was susprised not to hate Villazon, though I think it’s a very superficial reading of Tito with some nice occasional touches. I would recommend this for Rebeka, though, judging by how she started, I was expecting more from her Non piu di fiori. I’m not entirely sure how much is her fault and how much is Maestro’s, who has not impressed me at all. For Erraught I urge everyone to revisit her Munich Sesto.
- if young conductors want to record these things, they should employ the young gen of singers as well (here I have to give props to Currentzis again; don’t worry, we’ll be back to normal soon 😉 ). You know I like JDD (though she was never a fave Sesto) but really; people like Erraught and Crebassa and Lindsey deserve their mainstream shot at Sesto. ↩
- I had to go back to VK’s Deh, per questo with Welser-Most to try to figure out what the problem is. I think 42 year old VK’s voice has a similar density there but her colours simply sparkle in comparison. Though perhaps I’m wrong and VK solved a lot of density problems by darkening through her career so she could manueuvre colours a lot better. JDD didn’t darken and waited for real density but by then the colours (which were never on level with VK’s) had washed out? Anyway, sounds like JDD is a lot more conventional in her rendition here. The amount of rubato in VK’s version is quite striking in comparison and the use of trills is very (very) different. JDD seems to want her cadenzas at top speed and her trills tossed off with abandon, whereas VK is not afraid to put lots of breaks into the proceedings and add often shorter trills for dramatic effect rather than in that belcanto way JDD likes them. ↩
The trailer is all Parto so you almost want to ask: what’s Villi doing there? I do like JDD’s a la Titus hairdo. Nice attention to detail.
Mozart Cycle – I ❤ that. Obviously Mozart worked it all out so it culminates with Tito 😉
I don’t need to reiterate how the summer festival season has blinded me to the latest Tito developments but a new CD has dropped this past July (instead of waiting for September like I would’ve).
Known quantities JDD and Marina Rebeka sing our seditious lovers. (Has JDD never recorded Sesto before? I suppose VK saturated that market for about a decade before JDD started singing soprano roles (out of frustration?)).
Then we know who Sesto’s should’ve been, no offence to JDD because we all know what JDD can do. We also know what KL + SY can do (KLSY or, with a little help, SYLK?). So the reason this didn’t happen: DVD =/= CD.
Do we think SY can sing Vitellia? I don’t trust my SY objectivity just now. Please alert me when that DVD comes out, I will write on it ASAP. They can bring their Poppea getups along.
ps: as per the comments on the above tumblr post, she was apparently slotted to sing Vitellia on this recording. Saving it for the DVD, I tells ya.
The smaller roles are impeccably cast, with Regina Mühlemann dewdrop-sweet as Servilia, Tara Erraught making much of Annio, and Adam Plachetka as the commander Publio, who sounds rather more secure than his emperor. (from the Guardian’s […]Tito – Nézet-Séguin and Villazón return)
Of course I feared this moment ever since I saw him as Don Ottavio. Sigh. One day I will have to actually listen – this month, even! Stay tuned.
Tara Erraught making much of Annio
Like, ha. This generation of singers are doing things all backwards. Then again, there is audio evidence of Fassbaender’s Annio.
The main idiosyncrasy is Villazón – and in this opera, where the tenor has the title role, that’s not easy to gloss over. Some listeners will find his warm, passionate portrayal of the merciful emperor an antidote to the generic, antiseptic style in which Mozart can be played today; others will balk at his expressive tuning, and wonder why he sounds as if he is limbering up for Nessun Dorma. (from same as above)
I can hear it already!
Wait, who these days plays Mozart in an antiseptic way?! I thought the trend was to spritz him up with edgy stuff.
This month, he and Nézet-Séguin will return to Baden-Baden for Die Zauberflöte; Villazón will go full Domingo and sing the baritone role of Papageno. (from same as above)
Haha! This is gold. Hands down my favourite Erica Jeal review, we’re usually at odds.
Progress! A new volume has appeared on Tito this past May, the third part of Stockholm Studies in Culture and Aesthetics series of monographs and edited volumes. Though the opera has moved into the mainstream, not much (of note?) has been written since Emanuele Senici’s 1997 Adapted to the Modern Stage: La clemenza di Tito in London and certainly nothing as important as Rice’s 1991 monography. You can download it here, because
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