Hard
upon the heels of the 2003 Salzburg production, directed
by Martin Kušej and conducted by Nikolaus Harnoncourt (see
review), here comes an almost twenty-year-old production
from the
Drottningholm Court Theatre, under the direction of Göran
Järvefelt and with Arnold Östman in the “pit” - There is
no real pit at Drottningholm – the orchestra seated on
the same level as the front rows of the audience and separated
from them by a simple fence. The contrast could hardly
be greater.
While
Kušej has transported the action from ancient Rome to a
doll’s house look-alike performed in present-day costumes,
unblushingly erotic and with a modern orchestra (the Vienna
Phil), Järvefelt has tried – and managed – to recreate
a performance that Mozart and his contemporaries would
have recognized. Thus the carefully restored 18th century
theatre still uses the original sceneries and machinery,
beautiful period costumes and the singers act according
to 18th century convention – stylized gestures
to be sure but agreeable to watch – and this does not exclude
strong feelings and dramatic expression. The stage is narrow
but deep and Järvefelt makes admirable use of the space
or lack of it. Colours are subdued though in perfect harmony.
This is still a colourful performance, since people are
frequently appearing - chorus and extras - for pomp and
circumstance. I never saw this production live but I am
convinced that the experienced Thomas Olofsson made the
most of the opportunities and the resulting film is indeed
truly beautiful.
The
orchestra, bewigged and in period costumes, play authentic
instruments, rendering the music an extra edge that makes
it sound more modern and more incisive than the smoothed
out sounds, however beautiful, of the Vienna Phil. The
actual sounds of the instruments is one factor; the phrasing,
less legato, more airy, further emphasised by the somewhat
dry acoustics of the wooden building, another; Östman’s
conducting, swift, unfussy, a third. Where Harnoncourt,
for all his eminent qualities, presents a romanticized
Mozart, at times verging on the lethargic, Östman is eager
and more dramatic, and there is a startling impact when
the brass announce the arrival of a procession. Taken as
a whole this performance is an entity, the visual and sonic
qualities speaking the same language, where sounds and
the pictures of the Salzburg production jar against each
other. Others may feel differently of course, but as far
as authenticity goes I can’t imagine La clemenza di
Tito closer to the mark than this Drottningholm version.
So
far I have not mentioned the singing, and those who have
already read my review of the Salzburg set will know that
it is luxuriously cast with international big names doing
their utmost. Östman’s Scandinavian cast, although hardly
household names outside Sweden, are, just as accomplished
and in the intimate Drottningholm surroundings they make
a splendid team, vocally and dramatically.
Anita
Soldh, for many years a mainstay of the Stockholm Opera
in a wide variety of roles, is a splendid Vitellia and
every facet of this complicated character is vividly conveyed
through her facial expressions, even more telling in the
close-ups of the cameras than when seen live in the theatre.
Having heard her on innumerable occasions live, I doubt
that she has sung better than this. It may be unfair to
pick an individual number in preference to others that
are on the same level however her great recitative and
rondo in act II, the one with the clarinet obbligato, is
really masterly – both as acting and singing. In the latter
respect she even challenges her compatriot Hillevi Martinpelto
on the recent DG/Mackerras recording (see review). Both
sopranos incidentally come from the same province of Sweden,
Dalecarlia,
where
also Jussi Björling was born. Pia-Marie Nilsson in the
other female role, as Servilia, is charming, sings with
great lyrical beauty. Her brother Sesto is also sung by
a woman and this is one of the great roles for a mezzo.
Kasarova for Harnoncourt and Kozena for Mackerras are world-stars
and magnificent they are, but the comparatively little
known Lani Poulson runs them close. She sings a formidable Parto,
parto in act I and hers is a powerful reading of the
part. Her acting may be over-emphatic at times but this
is soon forgotten when the singing is on such an exalted
level. The versatile Maria Höglind turns in a fine Annio,
again with singing from the top drawer. Her looks and acting
are so graceful that even hearts of stone should melt at
the mere sight of her.
Jerker
Arvidsson, at about this time a splendid Hans Sachs in
Stockholm, is an authoritative Publio. Stefan Dahlberg
as the eponymous hero sings with honeyed lyricism but also
shows that he was soon to go on to more lirico spinto parts.
Rarely has the aria Ah, se fosse intorno al trono been
delivered with such bounce, bite and brio as here, unless
it be on Domingo’s Mozart recital on EMI. Dahlberg is in
fact a much more idiomatic Mozartean.
I
have nothing but praise for the quality of sound and pictures,
the booklet has a good track list and no less than 47 index
points. There are good notes by Volkmar Fischer.
While
enjoying the singing in the Harnoncourt/Kušej set as a
total experience that is more in tune with the music this
Drottningholm production takes pride of place in my collection
of La clemenza di Tito.
Göran Forsling
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Stefan
Dahlberg (tenor) – Tito; Anita Soldh (soprano) – Vitellia;
Lani Poulson (mezzo) – Sesto; Pia-Marie Nilsson (soprano) – Servilia;
Maria Höglund (soprano) – Annio; Jerker Arvidson (bass) – Publio 
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