by The multi-member chess chamber Maxim Emelyanchev, who led the singers, headed his musicians and led virtuoso keyboard continuo, was a main joy for the concert performances of Mozart operas from SCO at the last Edinburgh International Festivals. This was also an absolute evening on which the urgency of La Clemenza di Tito’s quick composition was recorded.
Us Mezzo Angela Brower brought the palpable fear into the Sesto trolleys, which was torn between loyalty to good emperors (tenor Giovanni Sala) and the love for the better Vitellie (Tara Estraight). Tito’s search for a loyal wife who meets with the consent of the citizens of Rome, as he is sung Bass Peter Kálmán’s public or by the excellent SCO choir, is still complicated by Servilia (Hera Hyesang Park), which is already in love with Annio (Maria Warenberg).
When Act One makes the dating apps look sluggish, this luxury line -up and Emelyanychev’s energetic direction of the SCO strings coordinated the pace with excellent performance. After the magical flute and the Così fan Tutte, La Clemenza looked a strange choice on paper, but this was probably a eloquent case for working as any staged production.
The voice area of the singer in the role of Vitellie is enormous, but every note has sung perfectly. With the help of the entire available platform area, Brower and Sala were the dramatic heart of the semi -emphasized use, the latter giving a remarkable credibility for its role. The first duet of Park and Warenberg was an early melodic highlight, and the clarinetists Maximiliano Martín and William Stafford were first class in the Basset -Horn -Soli, who work together in every act.
From the fine overture, which deserves more excursions as a concert, to the joyful consequence of the choir, as obviously in the same year as Mozart’s Requiem, this flawless interpretation of La Clemenza di Tito shows as the work of a composer at his climax.
