On a Titus found at the Opéra de Rouen
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Rouens. Arts Theater. 16-XII-2022. Wolfgang Amadeus Mozart (1756-1791): The Clemency of Titus, opera seria in 2 acts K. 621 (1791) on a libretto in Italian by Caterino Mazzolà after Metastase. Concert version. Starring: Ed Lyon, Tito; Simona Saturova, Vitellia; Anna Stephany, Sesto; Victory Brunel, Annio; Chiara Skerath, Servilia; Luigi de Donato, Publio. Accentus Choir / Opera of Rouen Normandy. Rouen Normandy Opera Orchestra, conductor: Ben Glassberg.
The Mercy of Titus of Wolfgang AmadeusMozart finally at the Opéra de Rouen Normandie, in concert version…
It must be admitted that she experienced many setbacks in this production of The Mercy of Titus at the Rouen Opera. Initially planned for 2020, canceled in its stage version due to pandemic and confinement, then reduced to a pale epigone broadcast in streaming in the form of selected pieces, without Titus, discarded, before finally being recently recorded on CD by Alpha Classics. The voice again on the boards of the Opéra de Rouen, in concert version, of course, but with a complete cast. It should no doubt be remembered that this perseverance in producing this ultimate Mozart opera by the Opéra de Rouen is perhaps not only due to the quality (to say the least debatable) of the work, but rather to the attachment understandable staff Ben Glassbergconvinced Mozartian, for this production which marks in 2020 his debut as musical director of the Rouen institution.
Hastily composed to respond to an order and probably written by several hands, on an obscure and bewildered libretto (renunciation for reasons of state, conspiracy, thwarted loves and forgiveness fallen from the sky, bathed in Masonic ideals and imperial leniency ), The Mercy of Titus remains an opera of singers made up of famous numbers which highlight all of Mozart’s genius in the pairing of voices and woodwinds in particular. Our previous column ended with his words: Waiting for better days… It seems that these long-awaited days have now come, as evidenced by this performance which essentially calls on young singers, but which nevertheless calls for some reservations…
Carried away by his passion to conduct this beloved work, Ben Glassberg somewhat manhandles the Norman phalanx with an often badly controlled energy, varying from forte to triple forte, stingy in nuances, on a phrasing cut with a billhook which lacks elegance, delicacy and cantabile, opposing rhythmic theme and melodic theme of a little bombastic way with strong timpani which are not of the best effect in this room with delicately reverberating acoustics at the origin of an imbalance between orchestra and singers often obliging the latter to force their voices a little… Things are However, we will improve in the second part with a more measured and attentive direction.
The voice cast is almost identical to that of the last version given during confinement, with the notable exception of the expected reappearance of the hero: Titus, here superbly interpreted by Ed Lyonscame from the baroque movement, which gives his character a lot of humanity through his doubts and outbursts, and a lot of flexibility and emotion through his singing, as during his dialogue with the Choir at II: “ Ah, grazie si rendano “. Simona Saturova is still as successful in the role of Vitellia’s bugloss, which she boldly performs both scenically and vocally with her warm timbre, slightly acidulous at the top of the register, by her wide range with well-timbred bass, by her dazzling projection as well as by the flexibility of his singing line, his legato and the ease of his vocalizations: so many qualities which will find their culmination in his famous Rondo du II: ” No, no more flowers with basset horn obligatory (Lucas Dietsch). New to this cast Luigi de Donato magnifies the character of Publio by the beauty and depth of his bass as much as by his charisma, despite the discretion of his appearances with a ” Tardi turns up at II of confusing magnitude. Vocally and scenically more set back, the Sesto d’Anna Stephany disappoints somewhat by the instability of its line as by its lack of scenic engagement; son ” Go, go to I sorely lacking in emotion despite Naoko Yoshimura’s superb obligatory clarinet accompaniment while his “Deh, per que istante solo » in II seduces, on the contrary, by its delicate accompaniment to the orchestra, as by its legato, its nuances, its colors, its vocalizations and its spun highs. Annio (Victoire Brunel) and Servillia (Chiara Skerat) impress with the freshness of their I duet: “ Ah, perdona al primo affeto “, while the Chorus Accent / Opéra de Rouen is, as usual, excellent.
Photo credit: © ResMusica
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Rouens. Arts Theater. 16-XII-2022. Wolfgang Amadeus Mozart (1756-1791): The Clemency of Titus, opera seria in 2 acts K. 621 (1791) on a libretto in Italian by Caterino Mazzolà after Metastase. Concert version. Starring: Ed Lyon, Tito; Simona Saturova, Vitellia; Anna Stephany, Sesto; Victory Brunel, Annio; Chiara Skerath, Servilia; Luigi de Donato, Publio. Accentus Choir / Opera of Rouen Normandy. Rouen Normandy Opera Orchestra, conductor: Ben Glassberg.
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