Published online at Limelight Magazine, 12th April 2021
https://www.limelightmagazine.com.au/reviews/la-clemenza-di-tito-national-opera/
Canberra, popularly known to mean “meeting place” in Ngunnawal (one of the Indigenous languages in the district when European settlers arrived), has a new opera company and opera lovers, as well as those curious about it, have a new destination to meet. In the midst of a pandemic, that’s a remarkable achievement, as was Saturday’s opening night of National Opera’s inaugural production of Mozart’s La Clemenza di Tito. With it, the overall quality heralds a confident rebirth for opera in the city, in no small measure thanks to Artistic Director and director of the production, Peter Coleman-Wright, who has assembled a fine team of artists.
Supposedly completed in just 18 days, La Clemenza di Tito was commissioned to celebrate the coronation of Emperor Leopold II of Prague. Naturally, exemplifying regal duty and imperial character in a glowing light was imperative. So, obliging with the story of a benevolent Roman ruler (Tito) who exonerates his best friend (Sesto) from an assassination attempt on his life, including the woman (Vitellia) who put him up to it, certainly highlights leadership, compassion and backbone. Tito’s short rule (79-81 AD) was viewed favourably by historians of the period with one such account by Suetonius noting Tito’s remark, should he have not helped anyone in a single day, “Friends, I have lost a day”. Leopold must have been honoured with the comparison, especially with such radiant music bestowed on him.
That musical gold shone from the stage of ANU’s Llewellyn Hall under conductor Dane Lam’s impressive orchestral interpretation. The pressure was on from the start to win the audience over after an unsettling 20-minute delay but all was forgotten when Lam served up a deliciously refined overture, then continued painting Mozart’s score with athleticism, insightfulness and emotional weight. With fortepiano before him, Lam also shifted to conducting from the keyboard while integrating the many recitatives with perceptiveness. At all times, the singing was supported with sensitivity. The Canberra Symphony Orchestra also responded commendably across the night with verve and diligence.
But why La Clemenza di Tito? Coleman-Wright’s production relates the story with clarity in a pared back context that flirts with Ancient Rome yet, neither being contemporary nor futuristic, creates its own artistic sense of time. Stage designer Mel Davies’ spatial layout of clean-cut marble steps and terraces amongst artificial grass and green hedges provides a thoughtful layout for the frequent entries and exits, with Victoria “Fi” Hopkins’ eccentric and eclectically tailored costumes adding flair. But Ancient Rome is in a bit of a mess. Titus’ throne is at risk of falling because Vitellia, daughter of the late emperor (deposed by Titus’ father), wants revenge. In the chambers of government on Capital Hill, is Canberra faring any better? Something about Mozart’s celebratory, 230-year-old opera has much potential to view the way we see our own leaders’ use of power and clemency. In some respect a contemporary dialogue with Mozart’s work could have achieved more. Nevertheless, it’s a handsome looking staging and one that was carried off by some mouthwatering vocal artistry.
Heavily clad in scarlet and emphasising her character’s manipulative hand, there was no holding back the vengeance in UK-based Australian soprano Helena Dix’s electrifying performance as Vitellia. Dix’s return to the stage after her near-fatal battle with COVID-19 last year was nothing less than sensational. With both healthy and dynamic range and technique, from whisper-like to volcanic, and ornamental riches to add, Dix’s performance appeared effortless throughout. And God forbid her Vitellia succeeded in taking the throne. But in seeing Sesto accept punishment for his actions, Vitellia’s remorse surfaces and Dix captures it in stunning heartfelt form in Act 2’s Non più di fiori.
It was equally rewarding having UK-based Australian mezzo-soprano Catherine Carby back, whose passionate and agitated Sesto deservedly earned Tito’s clemency. Delivering magnificent soulfulness and grit, Carby convinced in portraying Sesto’s unrequited love for Vitellia while being putty in her hands, her Act 1 Parto, parto, ma tu, ben mio an especially throttling display of heartfelt emotion in agreeing to murder Tito.
In the titular role, Bradley Daley’s customarily striking and buttressed tenor disappointingly fell short of his best. A disconcerting unease marred Daley’s Tito, who appeared somewhat stiff and worn and an easy target for foul play. While Tito’s authority lacked, his commander of the guard brought some convincing strength in Andrew Collis’s loyal Publio.
In tandem with the meat of the plot lies the romance between Vitellia’s sister Servilia and Sesto’s friend Annio, which spices and convolutes the drama with interest. In the trouser role, beautifully voiced mezzo-soprano Eleanor Greenwood gave total purpose to Annio, rendering him with sincerity and elevating his part aptly as he plants the seed in Tito’s head to grant forgiveness for Sesto’s crime. And soprano Mikayla Tate’s purity of tone and presence served up ample credibility as Servilia.
Containing a rich mix of powerfully driven duets, trios and more, as well as a chorus of just 16 who sang resplendently beyond their number as the people of Rome, La Clemenza di Tito made an impressionable and uplifting start to Australia’s newest opera company. “Our dream is to build an inclusive and community-driven company”, says Coleman-Wright in the program’s welcome. That, I hope, is something Australians of all walks of life can be part of.
La Clemenza di Tito
National Opera Canberra
Llewellyn Hall, ANU
Until 17th April 2021
4-stars
Production Photos: Peter Hislop
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