An
underwhelming evening at the opera
I
am constantly aware of how niche going to the opera is, especially sitting as I
do in one of the more expensive seats in the Liceu, surrounded by the good and
the great of the cultural scene in Barcelona.
I do my bit for egalitarianism by wearing sandals and jeans, but it doesn’t
alter the fact that I am (generally speaking) surrounded by the white, the
elderly and the middle class. Count the
number of balding men exiting a performance at the opera and you will begin to
fear for the survival of this art form after another generation or two!
It doesn’t have to be like this of
course. In some parts of the world going
to the opera is a normal and relatively inexpensive experience. But there is no way of producing good opera
cheaply. Think about it: there is an
opera house, seats, a stage, sets, lighting, soloists, costumes, a chorus,
technicians, an orchestra and so on and so on.
Opera is an expensive business and it is only ‘affordable’ with subsidy. That subsidy is either via ticket prices or
via public finance. I am well aware
that, expensive as my ticket might be, it would be a damn sight more expensive
without government help!
It all comes down to whether you
think that opera as an art form is worth subsidising to make it more available to
a greater range of punters. As far as I
am concerned, opera at its best successfully combines so many different art
forms that the resultant melange is exhilarating.
And sometimes it isn’t.
And the performance of La Clemenza di
Tito by Mozart in the Liceu last night was one of those underwhelming evenings
that makes you question the expense.
La Clemenza is an opera seria: a
serious opera, historical and heavy with moral worth and interminable continuo.
The legendary ‘mercy’ of the Emperor
Titus was chosen as a subject matter to flatter Leopold II as part of the
celebrations for his coronation as king of Bohemia. Opera seria was the preserve of the nobility and
played to their predilections, but it doesn’t necessarily play to ours.
Even though the opera includes love,
fidelity, betrayal, rebellion, arson, confusion and moral dilemma it is a
fairly static piece with most of the real action being the inner turmoil of the
individual characters expressed in recitative or decorated aria.
At the end of the first act I
understood why this opera had had a century and a half of obscurity before its
modern rediscovery.
The opening of the opera gave an
opportunity for the Orquestra Simfònica conducted by Phillipe Auguin to show
its ability in the playing of the overture and in this, as throughout the opera
the playing was nuanced and authoritative.
While the orchestral playing was excellent the stage picture of the
opening of the opera was less convincing.
The scenery was drab and literally clunky and the sombre, black uniformed
figures of the praetorian guard formed a circle around a shrouded figure and
did nothing else for minutes until, towards the end of the opening music they
pushed the plinthed figure into an alcove up stage and allowed Roman architecture
on wheels to form a frame for the opening numbers.
Myrtò Papatanasiu as Vitellia had a
good stage presence but I felt her voice sometimes lacked conviction. She certainly rose to the occasion in her
final aria, but I remained unconvinced.
Stéphanie d’Oustrac as Sesto moved around the stage well and had a
dramatic presence, with a tendency to melodrama and a voice that was more than
competent. Annio, sung by Lidia
Vinyes-Curtis, was always a lively presence and, although I found her voice a
trifle too nasal for my liking, she played her part well.
The eponymous role of Tito
Vespasiano was taken by Paolo Fanale whose lightish tenor voice was pleasant
within the middle range but became harsh at the top end of his register. He lacked the commanding quality that would
have made his presence on stage striking.
For me, the stand-out voice of the
evening was that of Anne-Catherine Gillet singing the role of Servilia, a voice
that was thrillingly immediate.
The chorus were their usual
characterful selves, and it would have been good to have had more of their work
enlivening this drawn-out entertainment.
The end of the opera had a moment
that I wished had informed more of the preceding couple of hours. As the tediously magnanimous emperor walked
upstage after forgiving everyone for everything, his praetorian guard suddenly
turned on him and the last stage picture was of a suggestion of another
rebellion. This ‘false note’ runs
counter to the thrust of the original intent of the piece but it did add a (tragically
too late) indication of how the staging could have been more interesting.
If this review seems unduly
negative, then that’s how I feel. There
were good things in this piece, and some of the ensemble music was captivating –
but recitative leaves me cold and I left the opera with a feeling of shaking
the dust off my sandals and hoping that this is a production that will not see
a revival over the next decade or so.
And
I was ripped-off for the Indian meal that I had before the start of the
performance. But let it pass. Let it pass.
The
next opera is Lohengrin which I am ashamed to admit I have never seen in a full
performance!
