Some time ago, Shezan from LiveJournal pointed me towards the 2003 Salzburg Festival production of Mozart’s La Clemenza di Tito. This is not a work I know at all well and previous efforts to watch it without sub-titles failed miserably. Now I’ve had a chance to watch the DVD. I can do the musical part of the review very quickly. It’s virtually flawless. All six principals (Michael Schade – Tito, Dorothea Roschmann – Vitellia, Vesselina Kasarova – Sesto, Elina Garanca – Annio, Barbara Bonney – Servilia, Luca Pisaroni – Publio) sing exceedingly well and Nikolaus Harnoncourt in the pit coaxes a thoroughly satisfying performance out of the orchestra. What I’m less sure of is what to make of Martin Kusej’s production. He uses the arches of the Felsenreitschule to create a three level heavily compartmentalized area which frames centre stage. Sometimes the compartments are used effectively for the various plotting and overhearing bits of the drama; fair enough. At others they are used to frame tableau that no doubt mean something to Kusej but which escaped me. For example, during the overture, Tito rushes around the set making the odd phone call while very young boys in underpants stand to attention in the various archways. Similarly in the final scene the active stage area is surrounded by a repeated motif of a man and a woman in formal dress with a table with a young boy (again in underpants) draped across it as if for a human sacrifice. I had similar problems with some of the Personenregie. Is Tito supposed to be mad? Certainly many of his arm and facial gestures suggest so and they contrast oddly with his classically stylish singing. My guess is that much more of this kind of thing was going on but Brian Large’s (who else?) direction for video was almost all in close up, often super close up. Maybe he couldn’t figure out what was going on either so decided to ignore it. This was one DVD release that could have used an interview with the director or at least some documentation.
Technically, this TDK release is very good. It’s spread across two disks and has a very good 16:9 picture and choice of LPCM stereo, Dolby 5.1 or DTS sound. The sound balance has the voices fairly far forward but not annoyingly so. The second disk has (at least my copy has) trailers for other TDK Salzburg releases including a 1962 Ariadne and a really freaky Turandot. Definitely worth a quick look!
Overall, this is very well worth watching, if a bit perplexing. Here’s an excerpt from near the end that shows both the weird stuff going on around the centre stage and Schade’s rather exaggerated facial expressions.
Second thoughts on this production posted July 20th, 2013.