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This is amongst the finest of the Mozart releases on DVD that the 250th anniversary year has produced so far.
Although controversial, and in some respects incomprehensible, Martin Kušej's production responds well to the sensuality of Mozart's late opera seria, and he is served superbly by six fine singer-actors.
Filmed in the Felsenreitschule at the 2003 Salzburg Festival, this Clemenza embraces the grand surroundings as a natural setting for the epic story. Multi-level stages and a few well-chosen props form the background for the action, which is also enhanced by Bettina Walter's gorgeous costumes and Reinhard Traub's atmospheric lighting.
Kušej resorts to some peculiar effects, including having the chorus come on in Act 1 dressed as tourists and surrounding Tito, who is sitting on his bed. The intimate moments, however, are brilliantly done, and all reservations are dispelled by such sublime pieces as the Annio-Servilia duet.
Sesto is one of opera's great characters, and the ideal vehicle for mezzo soprano Vesselina Kasarova. Even in the opening duet, her voice is full at the bottom, secure at the top and glowing in the middle. 'Parto, ma to, ben mio' is a highlight of the performance, and in general she does a sterling job of playing one of the most taxing trouser roles in the repertoire.
Dorothea Röschmann has gone up even more in my estimation after her sexy Vitellia in this DVD. She was a secure Countess in the Royal Opera's new Figaro, and an outstanding Pamina in Abbado's recording of The Magic Flute. Here she looks as stunning as she sounds, performing with passion and singing with agility and a creamy tone.
Heading the cast in the title role is Michael Schade. Infinitely preferable to Rainer Trost in Mackerras' recent recording, Schade sings with a pure, lyrical legato. 'Del piu sublime soglio' deservedly draws enthusiastic applause from the audience, while in general he embodies the troubled emperor to the letter, despite wearing some very peculiar costumes (such as something resembling a ball gown in the opening scene).
Having Barbara Bonney in the small role of Servilia is pure luxury. With an added depth to her voice, she still projects wonderfully well and looks incredibly glamorous. Also impressive is the young mezzo Elina Garanca in the trouser role of Annio. Her acting is very convincing, pouring out her anguished passion for Servilia and singing with great expression. And Luca Pisaroni is a superb Publio.
In recent times Nikolaus Harnoncourt has been conducting some uneven performances, but here we have the insights of his younger days. Thrusting tempi in the pompous, baroque pastiche moments are contrasted by spaciousness in the later-style arias.
In all, an outstanding release and a high recommendation.
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