Clemenza di Tito, 2nd round

sleepingI went back to hear the other cast for this Clemenza production.

I was slightly disappointed by Anna Bonitatibus; I remember her as lovely Cherubino in London and Melibea in Genova with an outstanding musicality. But yesterday, after slight intonation problems, she sang monotonously with a limited dynamic range and a trembly voice. Also the coloratura was not very clean and fluid.

Similarly Veronique Gens, who has a very nice middle register but an inaudible lower register and a mushed coloratura, coupled with strained high notes which are pushed from below. If this was not too bad in “Non piu di fiori“, the terzetto “Vengo…aspettate“, was painful in “..io ge-lo o Diiii-o”, not to mention the last quavers of the terzet (“io gelo o dio d’orror”) with ascending and discending movement.

Kurt Streit has a clean pronunciation but he overaccentuates the vowels, which makes him sing in a very graceless and inelegant manner. His last aria in Act II (“Se all’impero”) didn’t convince.

Equally disappointing Ludovic Morlot. Never did the discending motive in semiquavers at the beginning of the ouverture after the opening bars seem so long, and we were only starting… Holding things together lacked a bit in “Quello di Tito é il volto” where each singer went one way, the orchestra not sure where to….

Music direction-Ludovic Morlot, Director-Ivo van Hove, Scenography-Jan Versweyveld, Costumes-An D’Huys, Video-Tal Yarden, Dramaturgy-Janine Brogt and Reinder Pols, Tito Vespasiano-Kurt Streit, Vitellia-Veronique Gens, Servilia-Simona Saturova, Sesto-Anna Bonitatibus, Annio-Anna Grevelius, Publio-Alex Esposito, Orchestra and Chorus of De Munt/La Monnaie, 23 october 2013

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