(it’s one of those old news chez dehggi moments)
From Serenade‘s account of a 2017 performance of Le Nozze at Wiener Staatsoper (the other opera house in Vienna 😉 ):
The Countess was played by Dorothea Roschmann herself an erstwhile Susanna. In my opinion she has not quite graduated yet to the bigger role and she would do well to limit her appearances as the Countess. Her Porgi amor at the beginning of Act Two was sung with beauty of tone and a quick vibrato. But her Act Three Aria Dove sono was disappointing as it lacked breath control and a sense of line. She was unable to take any of the long phrases in a single breath and there were times when the voice just did not carry forward.
She has not quite graduated?! Ehehehe. I think I’d still like to see her as the Countess even on a so-so day. Then again, I’d rather see my fave singers on their good days.
Remember this one? I posted parts I and II way back when in January 2014. Thanks to this performance I 1) got interested in Idomeneo, 2) realised I quite like Rene Jacobs as a conductor, 3) became interested in the Arnold Schoenberg Choir, 4) Theater an der Wien appeared on my radar in style. So whilst cleaning the cobwebs inside the vault I thought I should to put this last part out, even all this time later.
I care because you do, as Richard D. James would say. Thanks to some interest shown in Act I and II, I took pity on this production and went back to finishing Act III, most of which – you will weep – was already written in January. Yes, that’s right, I had it in my drafts just sitting there, gathering virtual dust. But I couldn’t make up my mind what I wanted to say about Andro ramingo (I’m still not sure) and the ending (dramatically; now I think meh) and I had to also watch it again because my attention drifted away from the extremely exciting production. And then a flurry of Clemenze completely distracted me for many months. We all know it’s game over for everything else when that happens.
- Idomeneo: Richard Croft
- Idamante: Gaelle Arquez
- Ilia: Sophie Karthauser
- Elettra: Marlis Petersen
- Arbace: Julien Behr
- Il Gran Sacerdoto di Nettuno: Mirko Guadagnini
Conductor: Rene Jacobs | Theater an der Wien, Vienna, 2013 | Freiburger Barockorcherster | Arnold Schoenberg Choir
So it’s only been what, 3 years+? Right. Back in January 2014 we left off where Nessie gets angry at the Cretans. But by Act III he’s lost some steam and the weather has improved, because Wolfie needed to shoe in a bit of lovin’. Monsters and storms are fun for a couple of acts. But what’s the use of having two young people of marriageable age in your opera if you won’t make them fall in love?
Act III starts with Zeffiretti lusinghieri. Up to this point I said barely anything about Ilia. SK started quite screechy but maybe that’s how the director wanted it or maybe it was nerves. I gave her time to come into her own but by now I know that I don’t particularly like her voice. It’s sort of run of the mill, her vibrato bothers me and I’m not one to call foul on its use. She’s not that lacking in technique just kind of meh in presentation.
Principessa, a tuoi sguardi… ah, s’io non moro a questi accenti isn’t bad. Arquez is coping very well with Idamante’s transporto. Ilia takes pity on Idamante, who is at the end of his tethers after being rejected by both father and the woman he loves. She admits to her feelings and tells the poor sod she actually shares his love. They launch into the gorgeous duet that is S’io non moro. It’s a sweet moment, where our hitherto doomed lovers are finally getting a bit of respite from all the gloom and mud. Tutto vince il nostro ardor, Arquez and K sound beautiful together – moving and delicate. (But now that I’ve been there a few times it’s really hard to imagine the stage at TADW as muddy as that!) Of course they get interrupted but at least now they know where they stand which is together.
Andro ramingo e solo – an unsual one, this ensemble. Idamante: I’ll go looking for death and I’ll find it (and after that I’ll write a long post about it in my (online) diary). Ilia: Me too, me too! I wanna go with you. Elettra: (mocking Ilia wordlessly) Me too, me too! Then she abuses a lone plant (standing for hope I guess) Ilia later cares for. Idomeneo: Somebody kill me! I can’t watch Nessie chomp on my son! All: I can’t take this anymore! Idamante gives his dad his jacket (to sing to?) and Idomeneo physically abuses him a bit. Hey, mister, you’ve been really tough on the youngster by which we know you mean you really love him. Idamante puts the jacket back on, ready to take on Nessie. Ilia takes off his jacket, because we all know he can’t leave without it.
Arbace mourns Sidon’s fate and goes on a bit of rampage of his own then sings his aria about saving the local royal family. Behr’s voice is pleasant but the aria ain’t all that.
Nice intro to the Gran Sacerdoto, who’s got a pleasantly sacerdotal voice. The chorus swings low and noble then the music goes on like this for quite a while.
Trumpets. The choir gets busy. Idomeneo wonders what’s going on. Arbace rushes in with the news that Idamante put on his power suit to face off with Nessie. Idomeneo isn’t sure his delicate son is cut out for hand-to-tentacle combat. Idamante tries to convince him how noble it is to save his people by handing in a son. They argue over idealism vs. paternal love. Ilia shows up and isn’t keen on this Idamante as sacrificial lamb deal. She offers herself. She and Idamante go back and forth outdoing each other on who’s more ready to die.
Creepy celestial womb rumbles, all stand to attention. Foetus ex machina speakth: Idoemeo’s humanity has been taken on board but as a manager he has failed. He’s fired. Idamante is replacing him as King of Crete effective immediately. Ilia shall marry him and to hell with Elettra’s plans.
She can’t take this dissing and flings herself about in mud with abandon. The wig comes off. No more Miss Ditzygirl, she’s feral now. Marlis Petersen, that was some taking one for the team. The entire crew owes you one for getting mud in your eyes whilst singing the best (known) aria from the opera. Jacobs offers gentle support and she copes (although she bypasses the second set of evil laughter), especially considering what she has to do but it’s not all that grand vocally. I don’t think Petersen holds back as much as she doesn’t have the vocal oomph for this aria. I might be among the few who thought this production was entirely miscast save for this bad motherfucker. I mean, HELL yea, that’s portraying your character. No need for mud there. Harteros is pretty damn good in the Salzburg production but not on that level of losing it. Then again, her timbre is the closest to how I envision Elettra. Good thing nature never tossed Behrens and Harteros together, the earth might cleave and swarms of locusts might obscure the sun. (this paragraph sounds amusing to me now but that’s what I thought at the time…)
All live happily ever after. The end, tnx bi. (By which I mean I don’t get whatever Michieletto is trying to say. If you do, please enlighten me. Some productions seem very hard to break through)
The ballet and chaconne at the end is some of my favourite music in the whole piece, though I can imagine it gives headaches to directors (and is often cut? luckily it was neither here nor at ROH later that year). Conclusion 2017: Jacobs and the Freiburger Barockochester, the Arnold Schoenberg Choir and Richard Croft rock. The tempi are great. The other singers are pretty good. There was another chance to see this in concert performance form at TADW earlier this year but I couldn’t be in two places at the same time 😦 Anyway, it’s really worth listening to.
Ow, ow, check out the chap banging out Parto on the piano 😦 so wrong. The starting tempo is too fast (what will we be doing by the cadenza? Rossini patter? – to be fair, he’s better at that point) and the setup for the initial partos is way too even and decisive. Decisive? Mr Pianoman, what the hell is this aria about? The subsequent lack of legato, the insensitive take on the clarinet line… 😦
To be fair, La Fleming is exclusively talking about sound production here (which is an interesting thing) and we all know what this aria is about so there’s not much loss. Also she thinks he’s good so maybe I’m talking bollocks. Still…
As the banner says, September is normally Tito Month but since we had a very full August this year I think we’re all taking it easy in September 😉 Nonetheless, (this) September 6 marks the 226th anniversary of Mozart’s Tito premiere in Prague. So I’ll leave you with that silly Sesto and Vitellia dance from Sellars’ production:
I think it’s supposed to be erotic? I don’t quite believe Vitellia is trying to ascertain Sesto isn’t armed and ready to off her instead, though they are performing those weird stabbing movements as well… I guess the little dance gives you the gist of the opera and especially the gist of Sellars’ approach to it.
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
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.
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.
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.
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.
Just in case somebody doesn’t know about this and/or hasn’t had enough Tito this week 😀 when it rains, it pours! (btw, I mean to finish this! I am just juggling two Titi at the same time and spending a bit too much time with the ending of the Glyndebourne one at the moment 🙂 )
– does the Tito dance –
Intermission edit: I didn’t intend to liveblog this (because I like to take my time with Tito), I started with regular handwritten notes but then the production sort of took over and I had to “say” something. I wanted to do a different post for this later but it looks like I should better add my earlier notes here and let this mofo do its thing. Also I may not be able to watch everything tonight on account of work (I’ve already been late yesterday because of the Glyndebourne livestream), so I may just end mid-sentence, to be added later. Anyway, if you’re here, enjoy 😉
one more edit before I sign off for tonight: someone needs to tell Sellars that too much hand movement ain’t needed for operas written before 2010. Come ti piace imponi was a riot because of that. Come to think of it, maybe those were secret hand signals from Vitellia to the terrorists… but where’s the sex? Too much violence, not enough sex (remember Bush’s Everything Zen? Ha, I didn’t think I’d come to quote that fake grunge band but there you go, thanks for nothing, Sellars).
THE WTF MOZART MEDLEY TITO
Tito: Russell Thomas
Vitellia: Golda Schultz
Sesto: Marianne Crebassa
Annio: Jeanine de Bique
Servilia: Christina Gansch
Publio: Willard White
Conductor: Teodor Currentzis | musicAeterna / musicAeterna Choir
Director: Peter Sellars
Felsenreitschule (where else?!)
edit on 5 August: for the sake of completeness, here are my initial handwritten notes, in navy, with some additions after I slept on it.
Overture: running? Structures? coming out of the ground? Sesto and Servilia are running, he’s confused. The motley choir is back! Are they muslims?
And who are the armed dudes? Terrorists already? Guards?
Tito and his court come in, he checks out the crowd and wants Sesto and Servilia to join them; he introduces Sesto to Vitellia but the way they look at each other you can tell they’ve been acquainted already. The plot thickens! Did she signal to Tito which “commoners” to get?
Come ti piace imponi: interpretive dance?! Well… 😀 Berenice (muslim?) and Tito say a long goodbye
Annio: quite strong voiced/ no nonsense
Berenice shakes hands with Vitellia; Vitellia looks ready to bite her scarf off
Deh se piacer mi vuoi: very smooth start, nice trills on tuoi and fede; continuo gets busy (kitchen sink); Sesto wears cargo pants with tie – I really like Servilia’s black and white gauzy dress, girl has style; Vitellia puts moves on Tito who initially seems repulsed by her but then seems pulled into her game (did she not notice that? why does she need Sesto then?).
What does Tito want?
Musically I like this version, it’s very elaborate, with the right accents and very good chops from Schultz; it’s Vitellia we know and love but I think the message gets muddled as she moves between Sesto and Tito. I know there is a point there but we get it from the libretto. I think this would confuse Sesto even more and this aria is all about Sesto getting the right message.
It’s quite odd, as for once she seems to put the moves erotically on Sesto but then she gets further from that, which I don’t think is a good decision. Context intruding?
Annio has Servilia with him when asking Sesto for her hand, I like this. It’s good that she’s included, instead of the men (men? see below) deciding her life. Their (all three) interaction is very warm.
Deh prendi: interesting interpretive moves; are Sesto and Annio women? I don’t think men interact that way with each other. I will take it they are women in this production. Nice vocal mix and I like the added trills, you barely even get that in this little duettino. I like their warm interaction 🙂
Serbate dei custodi: who is Annio? He seems to be more the upper class dude in this production. Sesto and Servilia go back to “their people” and hug them. It feels like they’re about to plead their cause or something.
The choir has good vocal balance.
White’s Publio looks super fierce.
Tito gets massive gold bullions as his temple.
Edit during stream: Lucky me! I’m loving this production, too, though what the hell is it with the Baroque music during the Temple scene? (Ok, Rob explains it in the comments; I mean he explains what it is, not why it’s there) Molto odd! Let’s get back to Tito.
Annio speaks up about how cool that gal Servilia is, who, remember, is there already, so she gets the good news directly from Tito and runs away. Annio is gutsy.
No more talk – Del piu sublime soglio – which Tito sings at Sesto (who is there, too). He seems touched. Very forceful segue into it; seems Tito gets bigger voiced with every production. The couple of trills don’t come easy to Thomas. I enjoyed Croft’s softly delivered avrei a lot more.
Everyone is very sweaty already.
Ah perdona: wish the damn continuo wouldn’t keep barging in where it’s not its business. (see the comments again if you’re not used to Currentzis) I like how Servilia ain’t happy Annio shopped her to Tito. They seem very worried, not the usual happy duet and without much talk they start to sing. I like the rubato Currentzis gives the both of them to emphasise their own position within the duet.
Tito : Publio: they talk about the list of wrongdoers brought by Publio. Sesto is there for it, quite pointedly so. Tito says se ragion to Sesto (in regards to why people plot against him). Does he have, well, reasons to hint at that?
Servilia kisses Annio to make her point to Tito and then I guess what happens next makes sense:
Is this La clemenza di Tito or La voce di Servilia? More Servilia intrusive music?! Seriously, maybe I spoke too soon about liking this production. SCREW THE EXTRANEOUS MUSIC!
… because I guess she thinks she needs to sweeten the verdict a bit? Still:
Ah se fosse: THANK FUCK! For a moment there I really thought we’d skip it. It’s kinda interesting how everybody is there all the time and it makes sense. Though when we have bassoon why do we need that annoying continuo to start the aria?
Parto already! Ha. I have to think if Sesto being there for everything justifies why he should be so easily pushed into Parto. If anything, I’d think the opposite. Lying on one’s back for Parto = classic 😉 Also, the week of the French Sesti (ok, Stephany is not). That physical jump into guardami! was amusing. Poor Sesto. He killed the clarinet, eh heh. Is this a first, when even the instrumentalists lie on the floor?! 😀 Too much movement for the cadenza, though the ladies who complained there wasn’t enough movement in the Glyndebourne one would love it (some old bats on the train back to London bitched about it being too static; I hope they liked this shit). Whose brilliant idea was to have a closeup there? My head was spinning from all the movement up and down and all around. Gimmicky to the max but at least Crebassa tried to look for a chest touchdown. Didn’t find a sexy one, eh.
I really liked how Sesto and the clarinet even did their trills together – BUT this is not about Vitellia anymore. It’s not even just Sesto and his emotions anymore, it’s Sesto and a flesh and blood double. Like I said, gimmicky to the max. Unless I’m missing something, which is possible, because duh.
Vengo!: waaaaay too slow! Haha, kidding, of course. The ’80s called and couldn’t get through to get their styles back. That being said Schultz has some mad chops.
Act I finale – more Baroque shit to mark Mozart’s Romantic forays, yay! I hope Servilia ain’t back with something praising the lords in Latin.
Sesto is putting on a massive submissive act considering how organised his insurrection is.
I really wish they got on with things, I need a bathroom break and the cats were clawing for grub. Finally! Sesto, suicide bomber? Yes, it works, but he lives on to sing the damn Deh per questo… bomb failing?
He’s trying to shoot Tito when he can blow them up? Clearly he’s not thinking straight. Then Tito knows already?
(Dude, take off the damn vest!) How did Annio not see what happened? Haha. They all see everything except the most important bits.
Good call Currentzis to speed the damn thing up after wasting so much time with the baroque stuff. Seriously, though, why is Vitellia wearing latest style cca 1987?
And still nobody notices Sesto’s suicide bomber vest! It’s not 1987, you know.
Is it Brian Large again? I want to see more wide views, less sweat (I know this is maddest continental heatwave since 2003 (coincidence? probably), everyone is drenched in sweat).
End of Act I conclusion: mad chops Schultz, me gusta mucho! WTF is with the extra crap, though??? This is the year Tito is fucked with, yanno. Remember the one with the belcanto add-ons? Let me make one thing clear: TITO DOESN’T NEED EXTRA MUSIC. There, I feel better.
Wow, this production – Sellars has really gone a bit cookoo. I mean, dude. What? But also kinda cool. Some things are very cool, like how everyone is always there and how that makes a difference in how they react – screwing with meaning, I guess. I like that. But we’re wasting too much time with gimmicks. It really does not need gimmicks (especially what happened with Parto and the camera panning into the mad movement – just no). Guth wins this time. Less fuss, more personal meaning, more intimacy. This take is too much about the bigger picture Tim Ashley wanted. I hope he went to Salzburg to see this one.
Currentzis needs to put a cap on the continuo. Seriously, it’s fucking annoying. But some things are cool. Too bad he’s got a kitchen sink kinda mentality. TOO FUCKING MUCH! Calm down a bit, it’s good music already. Trust Mozart.
Tito is loved by ethnic people. Nice. Is this the Requiem? Can we just have Tito for like 2hrs? Will we get something from the Magic Flute as well?
How about the Commie looking dude? He’s some sort of friend of Sesto’s and Servilia’s. Maybe from when they went backpacking during their gap year and stayed with his family in the Urals and experienced the simple life Tito wants?
I’m all for context but I’m feeling this is too much context and not enough Tito.
Shit, it’s Torna di Tito a lato! Who would’ve thunk they’d throw in a lesser known Tito tune?! Did you guys know I once woke up singing it aloud? Nice trills. In fact, the trills are some of the best things in this Mozart medley.
(phew, Sesto took off his suicide bomber vest!)
And just like that it’s Se al volto. Crebassa is a bit whingy sounding but it’s a very supple voice and this trio needs a bit of whinge. Schultz = ❤ Sesto loves his family. You know what, I
only always meant to ask why Sesto and Servilia have so little (like 0) stage time together. So I’m glad we get warmth with Servilia here.
You know what I ain’t feelin’? Sesto and Vitellia’s connection. I’m not sure who exactly they are to each other because chemistry is not built into their acting.
White got some soft action in those vienis.
The continuo doesn’t know yet if Tito has survived. It’s all as it’s happening 😉 Too cool for school.
Ah non sventurato = Tito came back from the dead due to the love of his people! Haha. I like Thomas but he’s a bit past Mozart days.
Tardi: I never thought I’d get to hear White sing Tardi. I just like the man. It’s of the booming type, of course. TARDI! Ehehehe.
Publio (to Annio and Servilia): see what you did to him? Anyway, come on, Tito sign the damn thing.
This Tito on deathbed is like the Act IV of Traviata. He sings on! But first some more Requiem or whatever. I mean, duh. 1791 and all. It feels like they were saying in the ’50s when Stalin died (mum told me that when he died in 1953, in ye olde Eastern Europe people were crying in the street like the sun had just dropped off the sky). I want the Papageno-Papagena duet, me.
Come on, folks, with Glyndebourne we were already almost through with Se all’impero. I need to get going. Guth wins so far.
Tu fosti tradito: and io sono partito, ciao bambini! (nice chops, Annio, had we heard more of this stuff tonight, eh? That music is nice, I wonder who wrote it and why.)
fffwd to the end: I wanted to hear what Currentzis did with Eterni dei and… well, when I caught a glimpse of Sesto in the plastic jumpsuit and then how he dropped Tito – clearly he’s not done his Moving and Handling Mandatory Training! Somebody’s (Annio?) going to have to write a very complex Datix on this serious incident and let’s not talk about the inquest. Sesto’s not done with Publio yet.
This unusually picture heavy post is meant as a lure to Glyndebourne for all of you who read this blog but haven’t been there yet. They were gathered over the past three times I’ve been there this year.
As Team London boarded the Glyndebourne bus (you can see it here, posing at Lewes station), the host let us know that we had brought back the sunshine – the weekend had been atrocious. Indeed, the rain returned yesterday in great form – at least in London. Today is all right.
But Monday was a gorgeous day, and as we sat down for cake and prosecco we decided it definitely felt in the low 20s rather than the expected 18C. That’s Summer in England for you, counting your blessings when the thermometer reads 21C 😉 to be fair, the first part of July was scorching. All two weeks of it!
Southern Rail, who operates the trains that take one to Lewes, has gone (together with its passengers) through a very bad year. I heard that last year Glyndebourne had to bus its audience from Haywards Heath to the Glyndebourne gardens (that’s about halfway from London), instead of just from Lewes station. Luckily, this year things went well, though I understand Southern Rail service is still iffy. We boarded an earlier (than recommended) train to Brighton and then took a connection from there. I’m telling you this because it is one of the several (cheaper) routes from London into Lewes.
It was a bit windy, but then again, it’s in the middle of the countryside. We sat on the grass on the other side of the manor, by the auditorium, so we had the chance to hear the singers warm up and even chuckle a bit (they didn’t rehearse any arias per se that I could tell and you know I can tell). We were also right next to the camera crew and the presenter rehearsing for today’s introduction to the livestream. I pretended to be too cool for school and didn’t take any pictures of that 😉
We overheard the presenter mention something about the “James Bond theme” and we looked at each other like say what? Before the show there was a talk given by the Costume Crew which we did not attend because it’s nicer outside. So whatever the Costume Crew was on about went straight over our heads. I couldn’t imagine something further from Tito than James Bond but who knows…? We were wondering who exactly would James Bond be in Tito? Surely not the strangely Trump-like Publio… So from a random piece of info to a random picture:
During the intermission I was a bit too excited to eat, but somehow managed to put away a couple of kebabs (thanks, Leander!) and quite a bit of cake (thanks, Baroque Bird!) by the end 😉 Due to the lovely weather we were able to leave our blankets and things outside (these days you need to check your picnic basket in if you’re not leaving it on the lawn, but most do).
I think I was trying my best to be informative in the post about the performance and didn’t hammer on just how excited I was to hear the overture unfold. In fact it felt a bit unreal but then the curtain rose and everyone tried to manage the reeds and the puddles and before I knew it we got to the act I finale. I don’t know if the marshy bottom layer of the stage is supposed to be Glyndebourne-y or not – because of course the marsh makes sense anyway – but I will reiterate how much I liked the feel.
I have since read Tim Ashley’s Guardian review and I didn’t understand what he meant by “in reimagining the Roman populace as civil servants on the make, however, Guth loses sight of the wider political implications, giving us little sense that lives are at stake beyond the corridors of power in which the drama plays itself out.” I didn’t take it the chorus are meant to be civil servants as much as self righteous mob, which I think does indeed hint at the lives at stake – if the beehive mind has so much say in what goes and what doesn’t, well, then you get Brexit.
But for me Tito has always been about personal relationships and the delicate balances within a close knit group. I wouldn’t usually think too much about the wider implications, though I admit perhaps I should (that would also explain the hitherto rather perplexing motley and meddling chorus in the classic Salzburg Tito).
But let’s get back to the garden, the furthest side of it, where things start to get a bit wilder:
In keeping with the mix of wild and nostalgic feel of this production:
Cast update I somehow have missed:
Tito: Richard Croft
Be still my beating heart! ❤ ❤ ❤ Did I mention ❤ ❤ ❤ ?
Sesto: Anna Stephany
Wait, whatever happened to Lindsey? She’s not showing for the Proms either. It’ll have to do. I’m sure Stephany can sing it (in a pretty manner), not sure at all about her acting.
Date and time: 6pm GMT on 3 August, on the Glyndebourne page. In the event this isn’t working, try telegraph.co.uk and look for Tito. If you miss it/can’t make it, come back to the page and watch if for 1 week after the broadcast date.
You can see it at the cinema on the same date.
The Proms date is still 28 August (7pm), which you will be able to listen to here.
Full cast as of now:
Vitellia Alice Coote
Sesto Anna Stéphany
Annio Michèle Losier / Rachel Kelly (19, 21 August)
Publio Clive Bayley
Tito Richard Croft
Servilia Joélle Harvey