La Clemenza di Tito, a production by director Peter Sellars and conductor Teodor Currentzis that supplies Mozart's last opera with a topical outlook. After Salzburg and Berlin it visits Amsterdam.
I was not able to judge whether it made a big difference or not - I did not see another performance to compare - but it can be assumed that this La Clemenza di Tito, a production which, after Salzburg and Berlin, is in its third series of performances, with an assistant-conductor who was closely involved in the rehearsals, was carried out entirely according to Currentzis's wishes. A HIP-style approach with swift tempi and contemplative slow-downs - executed with the energy that can be expected from an orchestra of which the majority of its musicians play their parts while standing on their feet. Besides the orchestra and its enigmatic conductor there was Peter Sellars who gave the opera a contemporary look and there was, of course, Mozart. Above anything else, there was Wolfgang Amadeus Mozart.
For all what goes wrong (mainly in the second part) we get back a beautiful final chorus, excellent, but the music becomes, by that time, more a soundtrack to invented scenery than part of a coherent whole. It is therefore, with the music of the divine Mozart still ringing in my ears, that for a future return to this production an audio-only document will most likely suffice.
Dates 7 May until 24 May 2018
Musical director: Teodor Currentzis (Artem Abashev conducted on 13 May)
Stage director: Peter Sellars
Tito Vespasiano: Russell Thomas
Vitellia: Ekaterina Scherbachenko
Servilia: Janai Brugger
Sesto: Paula Murrihy
Annio: Jeanine De Bique
Publio: Sir Willard White