Document

  1987
    September 1987
        Opera
                Mozart La Clemenza di Tito.

Mozart LA CLEMENZA DI TITO. Stuart Burrows (ten/ Tito); Dame Janet Baker (mez/ Vitellia); Yvonne Minton (mez/ Sesto); Frederica von Stade (mez/ Annio); Lucia Popp (sop/ Servilia); Robert Lloyd (bass/ Publio); Chorus and Orchestra of the Royal Opera House, Covent Garden / Sir Colin Davis.

Philips (Full price) (CD) 420 097-2PH2 (two discs, nas: 128 minutes). From 6703 079 (11/77). Notes, text and translation included.

In the 10 years between the first release of this very good recording and its appearance on CD, La clemenza di Tito has slowly been winning converts. For those colleagues (and there are still too many) who can barely stifle a yawn at the thought of spending a night reviewing this opera, and for those friends who simply wouldn't think of it, two hours spent privately listening to these two discs may just finally convince them of the work's certain greatness.

The first five minutes of recitative are electrifying as the prism of relationships is formed: and it sets the precedent for the momentum generated throughout by John Constable's continuo playing and, indeed, by each member of the cast. This Tito sees Yvonne Minton on top form. The dignity and power of her "Parto", the telling fullness of her lower register, the greatness of character she shows in her "O Dei che smania 0e questo": all are reminders of a truly great portrayal. Dame Janet Baker is not equally in her prime here: there is some weakness at the extremes of her register, and some listeners will want more brilliance, less severity from their Vitellia. But this is more than balanced by the breadth of character as exemplified in her accompanied recitative, "Ecco il punto": she, too, is an "alma lacerata" and one of no little insight.

Popp's Servilia and von Stade's Annio are delightful in each other's company. I still find Stuart Burrows's Tito the weak link. The Emperor may be constant, but he must never be intractable: this one never quite touches the greatness of voice and of heart demanded by this role. Sir Colin Davis, of course, compensates richly by voicing much of the character within his orchestral accompaniment. Throughout it is his excitement and admiration for the work which is so palpably transferred to the listener.

HF



		In the 10 years between the first release of this very good recording and its appearance on CD, La clemenza di Tito has slowly been winning converts. For those colleagues (and there are still too many) who can barely stifle a yawn at the thought of spending a night reviewing this opera, and for those friends who simply wouldn't think of it, two hours spent privately listening to these two discs may just finally convince them of the work's certain greatness.



		The first five minutes of recitative are electrifying as the prism of relationships is formed: and it sets the precedent for the momentum generated throughout by John Constable's continuo playing and, indeed, by each member of the cast. This Tito sees Yvonne Minton on top form. The dignity and power of her "Parto", the telling fullness of her lower register, the greatness of character she shows in her "O Dei che smania 0e questo": all are reminders of a truly great portrayal. Dame Janet Baker is not equally in her prime here: there is some weakness at the extremes of her register, and some listeners will want more brilliance, less severity from their Vitellia. But this is more than balanced by the breadth of character as exemplified in her accompanied recitative, "Ecco il punto": she, too, is an "alma lacerata" and one of no little insight.



		Popp's Servilia and von Stade's Annio are delightful in each other's company. I still find Stuart Burrows's Tito the weak link. The Emperor may be constant, but he must never be intractable: this one never quite touches the greatness of voice and of heart demanded by this role. Sir Colin Davis, of course, compensates richly by voicing much of the character within his orchestral accompaniment. Throughout it is his excitement and admiration for the work which is so palpably transferred to the listener.