La Clemenza di Tito

Opera Atelier

Watch the Promotional Clip from Opera Atelier's April 2011 Production of 'La Clemenza Di Tito'
Video by Douglas Brown Courtesy of Torontowide.com

Sunday April 24, 2011

La Clemenza di Tito: Opera Atelier

by Brian Hay

It's always been hard to understand why this opera doesn't receive the degree of respect the other works from Mozart's late period get. The story is laced with intense drama. Mozart had to rush to deliver the piece in time but for him it only meant he had to concentrate harder. Some of the music it contains is among the best he ever wrote and his dramatic instincts were at their peak. The work just isn't given a decent voice all that often. Opera Atelier and the Tafelmusik Baroque Orchestra are the latest groups that are trying to change that.

The singers in the production are all fabulous. As Publio baritone Curtis Sullivan had the smallest part but its importance is pivotal because it sets up several of the larger pieces. The role called for him to portray authoritarian harshness and deeply rooted compassion equally well. He did it brilliantly. Mireille Asselin's role as Servilla was small but even more demanding. She had to project an honest and gentle nature without appearing naive. Her lightly textured voice was perfectly suited to the music and she captured the essence of the character very well. Mireille Lebel had the (always daunting) task of portraying herself as a man. That's no easy job for a lovely young woman. The role demands compassion that's almost feminine in character and contains some exquisitely lovely music. Her voice is full and rich and sounds as if it's been wrapped in silk.

The emotional range Measha Brueggergosman projected as Vitellia ran the gamut from intensely jealous, pathologically hateful and ultimately, smitten by her own conscience. She also had one of the few moments of real humour in the piece. Her singing was powerful and filled with such intense emotion it often seemed she was soaring above the stage. As Sesto Michael Maniaci had to find the heart of character who betrays his dearest friend in the name of love that might be confused with lust. His portrayal was so intense that he literally ran away with many of the scenes he appeared in. Intense, powerful, dynamic and rich are all terms that come to mind when describing his voice. He has great dramatic sensibilities and his timing is superb.

The most difficult role belonged to Krešimir Špicer. One of the criticisms that plagues this opera is that the character of Tito is little more than a one-dimensional vessel of goodness. That is so far off the mark it's not funny. Tito is as much a victim of human nature as any man: he simply refuses to be governed by it. Musically and dramatically his character is a masterpiece of characterization. His turmoil was portrayed magnificently by Špicer. Each time he appears this man's voice seems to yield new riches. In addition to his pure raw power the shadings he can give his voice at almost any volume are incredible. His performance was breathtaking.

The stage designs and costumes were fabulous even by the standards of this company. The effect created when the Capitol burns was stunning. The effect created by the backdrop used for the finale was enough to make my eyes go wide in awe. Apart from the backdrops few if any props were used on the stage to allow space for both the singers and the dancers. The dance sequences and singers movements were choreographed brilliantly. The action flowed so smoothly most of the scene changes were barely noticeable. The lighting kept the eye firmly trained on the centre of the action. Designer Gerard Gauci, choreographer Jeanette Lajeunesse Zingg, Lighting Designer Bonnie Beecher and Stage Manager Kate Porter can't be given enough credit.

The music in this opera is as pure and direct in its intent as the driven snow. The ensemble pieces stand with the best of any that Mozart ever wrote. The sequence of music that begins with 's'altro che lagrime' and concludes with the choral march that precedes the concluding numbers stands (in my opinion) with the best of anything ever written, by anyone. Mireille Asselin's performance of 's'altro che lagrime' was ravishing. Measha Brueggergosman's singing of 'non piu di fiori' virtually raised the roof with its intensity. The choral march was magnificent to watch and to listen to. Mireille Lebel and Mireille Asselin did an encore rendition of the famous duet 'Ah perdona al primo affetto' with some ornamentation injected into the second run-through. It was a stroke of genius by Director Marshall Pynkoski and there really shouldn't have been a dry eye left in the house. Under the baton of David Fallis with Jeanne Lamon serving as Concertmaster the Tafelmusik Baroque Orchestra clearly enjoyed playing this music. Their performance was a model of precision and passion coming together at their finest. The clarinet obligatos that permeate the several of the numbers were played with an incredible flourish.

Director Marshall Pynkoski's pacing and sense of what the characters should be have given this often underrated opera the voice it deserves to have. With this production and their presentation of 'Acis and Galatea' last fall Opera Atelier created a twenty-fifth anniversary season to be proud of. The population of Toronto should be proud to be home to an artistic light that burns as brightly as this one.

For those who love opera, or even those who have a passing interest, don't think about it. Just get out and see it.

This writeup covers the performance that took place at the Elgin Theatre in Toronto, Ontario on Saturday April 23, 2011. It was written to convey an impression of what it was like to be there.

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