Opera: La Clemenza de Tito, ENO
Saturday, March 5th, 2005 12:56 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tamaranthI hadn't intended to see this, but it's had good reviews and I needed some downtime.
Interesting staging -- multiple arcs of scenery (an 18th-century fabric print; a 'wrought iron' screen that looked like an accident in a printing shop, though the shapes merely suggested letters; stone walls) and a splendid projection of flames at the back of the stage during the 'Fire' scene.
La Clemenza de Tito interests me because it has six major roles: originally, 2 female soprano, 2 castrati, 2 baritone. The castrati roles are taken by mezzo-sopranos (Sarah Connolly absolutely stunning, and with quite unfeminine body-language, as Sesto; Stephanie Marshall more than adequate, but less androgynous, as Annio). There are some splendid duets -- notably Sesto and Vitellia (Emma Bell). Vitellia's been passed over by Emperor Tito (Titus) in his search for a bride, so convinces Sesto (the Emperor's dear friend, in love with Vitellia) to kill him. Two excellent voices, and some rivetting -- though unfussy -- acting: Bell's a little taller than Connolly, and much more majestic (especially towards the end when Sesto despairs), and I think has more decibels at her command. I wonder if this made her seem stronger, and Sesto weaker, than Mozart originally intended.
Most enjoyable and relaxing, though had forgotten how bloody uncomfortable the post-renovation balcony seats can be.
Interesting staging -- multiple arcs of scenery (an 18th-century fabric print; a 'wrought iron' screen that looked like an accident in a printing shop, though the shapes merely suggested letters; stone walls) and a splendid projection of flames at the back of the stage during the 'Fire' scene.
La Clemenza de Tito interests me because it has six major roles: originally, 2 female soprano, 2 castrati, 2 baritone. The castrati roles are taken by mezzo-sopranos (Sarah Connolly absolutely stunning, and with quite unfeminine body-language, as Sesto; Stephanie Marshall more than adequate, but less androgynous, as Annio). There are some splendid duets -- notably Sesto and Vitellia (Emma Bell). Vitellia's been passed over by Emperor Tito (Titus) in his search for a bride, so convinces Sesto (the Emperor's dear friend, in love with Vitellia) to kill him. Two excellent voices, and some rivetting -- though unfussy -- acting: Bell's a little taller than Connolly, and much more majestic (especially towards the end when Sesto despairs), and I think has more decibels at her command. I wonder if this made her seem stronger, and Sesto weaker, than Mozart originally intended.
Most enjoyable and relaxing, though had forgotten how bloody uncomfortable the post-renovation balcony seats can be.
