Munich: Mozart’s “La clemenza di Tito” with Cecilia Bartoli – Munich

With the overture, one could almost think that conductor Gianluca Capuano wanted to remedy the fact that this concert performance of Mozart’s “La clemenza di Tito” in the Isarphilharmonie begins quite late for the length of the work. He sets a tempo that under the valiantly playing “Les Musiciens du Prince – Monaco” something hectic breaks out. Capuano will not consistently maintain this train. Especially not when mezzo-soprano Cecilia Bartoli simply takes the time she thinks is right for her interpretation.

Here one experiences in particular the difference between a solid ensemble for the remaining solo roles and a singer of Bartoli’s rank – reinforced by the fact that the concert performance offers no distraction from the singing. The naturalness with which Bartoli brings the role of Sesto to life is incredibly good – despite the announced slight illness. She savors the meaningful stillness as well as her ability to shape coloratura with hauntingly beautiful and unobtrusive clarity.

With such a tailoring to a soloist, who is so noticeably superior to the others, a performance from a single source does not come about. Nevertheless, some know very well how to survive. Péter Kálmán sings a remarkably robust Publio. Mélissa Petit is vocally convincing as Servilia, but has adjusted her facial expressions to a permanent facial expression.

Alexandra Marcellier as Vitellia, on the other hand, is eloquent, expressing her indignation, which lasted until shortly before the end of the story, with a fairly large vibrato. John Osborn would be a worthy Titus if he weren’t the only one who always had his tablet with the sheet music with him – which is funny when, according to the plot, the emperor is holding a document in his hand. The precision of the chorus (Il Canto di Orfeo) is very beautiful, and the elegant way Siena Licht Miller plays the role of Annio is captivating. Huge applause.

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