The attempted murder by Sextus of Titus, the struggle of the emperor, who barely escaped death, for leniency towards his rebellious subjects can be read as a musical breakthrough of an enlightened reign ennobled by Mozart, as a bright glow of tolerance in dark times. Music that brings people on an equal footing as people, troubled but with good will. Rau does more than just transpose the material into the present. In the concept of grace, he mainly flaunts the hypocritical by cementing hierarchies instead of softening them. In doing so, he sometimes leaves the path of the libretto completely, underlaying his own text with subtitles, tells the personal stories of the actors and extras, writes historical contexts, lets war, expulsion and genocide in as a silent carpet under the arias.
Sometimes one can get the feeling that the Swiss playwright, director and filmmaker has agreed on a modus vivendi with music rather than exploring its interpretative sovereignty. With the young Russian conductor Maxim Emelyanychev, a slender, often sober sound is created, which knows how to absorb the backyard atmosphere of the stage as a spice. Bernard Richter plays the Tito as a dashing artist prince in a hipster look and clearly increases in color and depth of field over the course of the evening. Anna Goryachova as Sesto and Serena Farnocchia as Vitellia promise thrilling aria moments for a – fingers crossed – live premiere in Vienna, which video can only create insufficient space.
The musical direction of the Viennese performances lies with Matthews Halls, the Mozarteum Orchestra Salzburg plays and the Arnold Schoenberg Choir sings. Performances are currently planned from May 21st, tickets can be bought from April 17th.
The Wiener Festwochen want to announce their entire program on April 15th.
(S E R V I C E – www.festwochen.at)
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Clemenza Tito Festival Week Opera premiered Geneva