La clemenza di Tito (The Clemency of Titus), 1791, was the last opera written by Mozart and probably the most underrated until the end of the XX century. Now it is thankfully back into operatic repertoire, due to our age being blessed with a lot of virtuoso singers capable to handle with Mozart's demanding music. Which makes me quite glad, as this opera, despite the fact it's a formal opera-seria on one of the most overused librettos, contains some of the best vocal music Mozart ever wrote (take Sesto's aria Parto, parto and Vitellia's rondo Non più di fiori, for example).

The plot is based on the really long poem by Pietro Metastasio, which, before Mozart took the task, had been used for operas for about 40 times already. The young patrician (Sesto) (Sextus), childhood friend of the 'good' Roman emperor Tito (Titus Vespasianus) is urged by his lover, the power-hungry princess Vitellia, to assassinate Tito. After many hesitations, torn between his loyalty to Tito and love for Vitellia, Sesto conspires against his friend and tries to kill him. The attempt fails, Sesto's plot is discovered. He admits everything except for Vitellia's part in the conspiracy, terribly and heart-rendingly regrets his fault and is ready to pay for his crime with his life. Vitellia learns of his silence and, touched by his loyalty to her, confesses her guilt to the Emperor. The all-clement Tito pardons everyone.

As any opera seria, ‘La clemenza’ is full of long recitatives, which, though don't offer much in musical sense, bear the key significance for understanding of the plot. In this staging they are not only mercilessly cut (the lines left are just enough to get the clue of what the heck is going on), but also replaced with spoken dialogues, turning the opera into an Italian Singspiel. Can't say it was a good idea, as none of the cast, save Eva Mei only, can speak Italian as an Italian-born. What's worse, the speaking voices of the singers are different from the singing ones, sometimes drastically.

CAST:
Tito Vespasiano, the magnanimous Roman emperor - Jonas Kaufmann (tenor)
Sesto, Tito's rather canny favorite - Vesselina Kasarova (mezzo-soprano)
Vitellia, the conceited daughter of the previous emperor - Eva Mei (soprano)
Annio, Sesto's best friend, in love with Servilia - Liliana Nikiteanu (mezzo-soprano)
Servilia, Sesto's lively sister, loves Annio - Malin Hartelius (soprano)
Publio, Tito's chief of security, hates Sesto - Günther Groissböck (bass)

Orchestra of the Zurich Opera / Conductor Franz Welser-Möst
Chorus of the Zurich Opera / Chorus master Ernst Raffelsberger
Stage director Jonathan Miller

The thing I love about this staging is that this well-trodden plot is miraculously turned here into something quite different without changing a word or a note. Thanks to the acting abilities of the performers, especially the Bulgarian-born mezzo Vesselina Kasarova in the title role of Sesto, it’s so full of not-so-obvious subtexts that it entertains me a great deal to dig them out and examine.

'Vesselina Kasarova is the gold standard Sesto today', says smorg, and I wholeheartedly agree. This is her signature role, and you won't find a better Sesto, both vocally and dramatically. She commands the stage by just standing there and doing nothing but singing. And I'm amazed at how differently she portrays this character in two existing DVDs of ‘La Clemenza’ with her. If I hadn't seen it with my own eyes, I wouldn't have believed it possible. Sesto in this performance is a charismatic and cunning young man, perfectly aware of his position as the ruler's precious and not afraid to exploit his influence on the emperor, which earns him hatred from Publio the captain of the guard. Even after the failed assassination attempt this Sesto is anything but repentant. In his famous Act II rondo 'Deh, per questo istante solo' he is supposed to plead to Tito for forgiveness in memory of their friendship. Ahem. *rolls eyes* I'd say that in this interpretation he taunts his soft-hearted lover and plays on his feelings. The German tenor Jonas Kaufmann playing Tito is half a head taller than Frau Kasarova but he practically shrinks before her very imposing Sesto. By the end of the aria I thought Tito would throw himself on his knees before Sesto and beg him for forgiveness! An unusual approach to their relationship to say the least but I don't mind. It's subtly done and looks sweet.

In this light it's also very curious to watch Sesto and Vitellia sharing the stage. Let me remind you, it's for this woman Sesto tried to kill his long-time best friend. Well... I greatly doubt this Vitellia could inflame even a spark of passion in any man, despite her good looks. Italian soprano Eva Mei tries her best but this role just isn’t hers, neither vocally nor theatrically. Her light lyrical soprano has obvious problems coping with obnoxious music Mozart wrote for Vitellia. And as for the drama, the role of Vitellia demands high emotional intensity to convincingly deliver the wide range of contradicting feelings this character experiences. I'm afraid that Sra Mei, despite her efforts, just lacks the necessary acting abilities. Jonathan Miller's static choreography also doesn't help. In short, I can't understand how in the world Sesto could betray Tito because of this irritating spoiled lady. Reckless love? Passion? You’re kidding. There isn't any chemistry present between her and Sesto, and Sesto's constant expression 'Man, she's annoying the wits out of me' when he's not looking at Vitellia, doesn't help, too. My only suggestion is that she was blackmailing him, otherwise I have no explanation to his actions. Adding to this crazy theory is the lack of intensity in Sesto’s Act I aria ‘Parto, parto’ he’s singing to Vitellia. Here it seems as if Frau Kasarova, a magnificent singer whose trademark is her intensity and emotional depth, simply doesn’t want to put enough efforts into her singing, especially the final cadenzas. Makes me wonder if it was done intentionally, looking at how Sesto and Vitellia’s relationship had turned out. In other scenes Frau Kasarova remains as dramatic and immersed as ever.

Jonas Kaufmann's Tito is so good-natured, kind and gentle that one may wonder how such a lovely person could ever become a dictator. He sounds very convincing saying that the only benefit from being an emperor is to be able to reward people dear to him (no doubt, his beloved Sesto first of all). He’s such a cutie you can’t help but like him. Vocally, Kaufmann makes a good Tito, warm and noble-sounding, though his hefty dramatic tenor has some difficulties with Mozart’s dizzy coloraturas in Act II bravura aria ‘Se all’impero’.

The Romanian mezzo Liliana Nikiteanu and the Swedish soprano Malin Hartelius play a charming couple of Annio, Sesto’s friend, and Servilia, Sesto’s sister. Hartelius is perfect as Servilia and manages to sound convincing even in spoken Italian dialogues. Their sweet duet with Nikiteanu’s Annio ‘Ah, perdona al primo affetto’ and her only short aria ‘S'altro che lacrime’ are among the gems of the show.

Liliana Nikiteanu as Annio is an exquisite singer with a deep, beautiful and agile mezzo. In the acting aspect, however, this elder and more romantically inclined brother of Oreste from the comic opera ‘La Belle Hélène’ seems a bit out of place in an opera seria. Cute, but not from this show.

And another memorable character I can’t forget to mention is Tito's security chief, Publio, played by the Austrian bass-baritone Günther Groissböck, who looks imposing but alas, lacks the depth of the voice. His (or should I say Mr. Miller's?) interpretation of Publio's character is the source of permanent amusement for me. Tito’s affection for Sesto and Sesto's influence on the emperor annoy the royal bodyguard to an extreme, and his suspicions prove real when Sesto betrays his benefactor. Publio looks like he would've gladly strangled the vile upstart, and his dream almost comes true when Sesto is condemned by the Senate. But voilà! – the emperor, unable to let any harm come to his precious Sesto, pardons the treacherous snake. Imagine the poor Publio’s disappointment. Really, the finale of the opera is worth re-watching at least for Publio’s undescribable expression and the sarcastic looks Sesto casts in his direction.

The staging by Jonathan Miller is rather modern, with minimalistic sets and the singers dressed either in 1930-style evening costumes or in military uniform, Tito looking like Mussolini. It looks quite elegant at the first sight, but when it gets to action, bad things begin. This staging is as dynamic as a log. There is absolutely nothing happening on stage. No set change, no lighting effects, nothing. Even in the most dramatic scene, the burning of the Capitol, the stage has only Sesto standing here in the middle and later some blue flames in the background. The scene is saved only by Vesselina Kasarova’s commanding presence and Mozart’s expressive music. Frau Kasarova, an exceptionally charismatic actress, somehow manages to convince you with her singing and acting that something terrible and large-scale is indeed going on, even though nothing of that sort is really happening. Mr. Miller really ought to thank heavens for having such a Sesto at his disposal, otherwise this total lack of dynamics would’ve been boring to death. Quite contrasting in comparison with the very lively 2003 Salzburg performance which also starred Kasarova in the title role.

I wouldn’t call this staging of ‘La clemenza di Tito’ best (this honor, to my mind, belongs to the 2003 Salzburg recording) but it is no way the worst either. I don’t recommend it for beginners, though; the staging is too static and the reading of the plot too non-traditional. For Mozart and Kasarova fans this could be a treat, however, especially for those who have watched the Salzburg DVD. As for me, I like it more and more with each re-viewing, though I use the 'Rewind' button quite often when Vitellia is on stage.

The video clips from this production can be found here:
www.youtube.com/watch?v=G32buVYqTe8 (Tito's recitative and aria, 'Del più sublime soglio')
www.youtube.com/watch?v=Od4cSCItjNU (duet of Annio and Servilia, 'Ah, perdona il primo affetto')
www.youtube.com/watch?v=JFmvp8Duc_M (Sesto's Act II rondo, 'Deh, per questo istante solo')

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Better than Watching TV
Suitability For Children: Suitable for Children Age 9 - 12