LA CLEMENZA DI TITO, Teatro Nacional de São Carlos, Lisbon, December 2021
The last opera composed by WA Mozart, La clemenza di Tito, was sung in a concert version at the Teatro Nacional de São Carlos. Portuguese Symphonic Orchestra played and sang the Theater Choir and soloists, under the direction of conductor Antonio Pirolli.
Unfortunately, several negative aspects remain. In addition to the concert version presentation, always an amputation of the opera, the orchestra continues to be placed on the raised stage (and not in the ditch intended for it), and the choir on the levels that were built at the back of the stage. Both situations affect the quality of the performance, but this option is insisted on.
The soloist singers had qualitatively different interpretations. Tenor Pablo Bemsch was an amorphous Tito. The voice is decent but the singer did not take his eyes off the score and was not very expressive in the interpretation.
Soprano Susana Gaspar was a Vitellia to forget. In the lower register she had great difficulties but the main problem was in the top notes that were almost always screamed and shrill.
Sesto was sung by mezzo Ruxandra Donose, the best of the night. She offered us a solid, emotional and quality interpretation.
Soprano Cecília Rodrigues was a correct Servilia.
Another good interpretation was that of mezzo Miriam Albano as Annio, always in tune, with a well-pitched voice.
Baritone José Corvelo performed the Publio without an exciting interpretation.