May 12, 2008
'Tito' rises from obscure to exceptional
The Washington National Opera presents the Mozart "La Clemenza di Tito," conducted by Heinz Fricke, directed by Michael Hampe, set design by Hampe and German Droghetti, in the Kennedy Center Opera House, May 14.
Good versus evil, revenge versus clemency, political intrigue-seemingly natural fits for life in Washington D.C. And while these themes may sound as if they've been lifted from today's headlines, they're actually the themes of an 18th opera set in Rome A.D.79, under the rule of Emperor Titus (also referred to as Tito). The fact that these sentiments pose the basis for Mozart's "La Clemenza di Tito" and that this brilliant work is being heralded in Washington D.C. by the National Opera adds to the pleasure.
Once considered one of Mozart's most popular operas, the other being "Don Giovanni," "Tito" eventually fell into obscurity, largely due to a general shift of interest from "opera seria" to the more sweeping emotions of the Romantic Age. Fortunately, "Tito," and other similarly styled works, have found renewed contemporary interest, the reasons for which interest are readily seen and heard in this handsome, stylish production.
"Tito" is an exceptionally powerful opera thematically. Quite simply, it shows the true measure of an honest and benevolent ruler who can forgive his best friend from plotting an assassination attempt against him and burning the Capitol, urged on by a woman who is miffed because the Emperor didn't chose her to be his wife...at least not initially. Actually, the plot is complicated, but the idea is that it's a good man who can find justice despite all the evil surrounding him. It's "seria" stuff to be sure.
This dignified and smart looking production features Canadian tenor Michael Schade in the title role. As Tito, Schade embraced the character. One might say he has crafted the definitive characterization and set the standard for others to follow. Right down to the finest point detail of acting, as seen when he thumps his fingers nervously in his character's moments of indecision over whether or not to put his best friend to death for his betrayal, Schade was Tito. The emperor's majesty, magnanimousness, and conflicted nature were evident throughout as Schade relayed effectively and dramatically the dilemmas facing his character. Of course, Schade brought to the effort more than just consummate acting; he also brought a ringing, solid sound tenor that rounded off the totality of his substantial contributions and made his role memorable.
Tito's best friend, Sesto, was sung, in a trouser's role, by the beautiful Russian mezzo soprano Marina Domashenko, whose performance was spectacular. Her dark, exciting voice was focused and convincing, as was her portrayal. In fact, every time Domashenko took to the stage, eyes were riveted on her, so dynamic a presence she created.
As Vitellia, the person who actually hatched the assassination plot and the burning of the Capitol and persuaded Sesto to carry it out, Russian soprano Tatiana Pavlovskaya epitomized a woman scorned. In fact, Vitellia's level of vindictiveness was so extreme that it became a form of "buffa" amidst the "seria." While her character's frenetic behavior approached psychological proportions, Pavlovskaya's strong, directed soprano provided all the conviction needed to convey Vitellia's vicious intent. Her performance was exciting in every respect.
Russian bass Nikolai Didenko brought power to his role as Publico, Tito's guard. Similarly did soprano Hoo-Ryoung Hwang and mezzo soprano Jossie Perez deliver strong vocal performances as Servilia and Annio, respectively.
Michael Hampe's direction was exquisite, easily defining the complex interactions taking place throughout the work. Movement was purposeful and elegant in design, as were the sets and costumes from the Theatro Municipal de Santiago. The chorus was in superb voice and role, serving largely as Tito's adoring populace.
Heinz Fricke conducted superbly, effectively blending recitative and aria into a whole that was compelling and, given the orchestra's excellent delivery, musically exciting. Performances play at the Kennedy Center May 19, 22, 27.
Copyright © 2008, The Virginia Gazette
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