OPERA: The Clemency of Titus

We thoroughly enjoyed the soprano-fest at LA Opera’s The Clemency of Titus. It was the last opera Mozart wrote, and it was scored not only for two sopranos for the female roles, but a soprano castrato and a soprano en travesti (cross-dressing) playing two male roles. In modern times, since castrati are in short supply, those two “trouser roles” are sung by mezzo-sopranos. With soldierly costumes and fake beards, they were quite effective and affecting. There were some lovely duets between the “men” and the women, and one between the two “men”. The orchestration included harpsichord and some period instruments called basset clarinet and basset horn, each of which had a featured “duet” with a soprano. The voices were all strong. Elizabeth DeShong, demonstrated great range and emotion as Sesto, a young Roman nobleman who is goaded by the object of his love to turn against his dear friend. Guanqun Yu was vibrant and beguiling as Vitellia, the conniving beauty who manipulates Sesto to evil ends. Russell Thomas’ rich tenor voice rang true as the virtuous Emperor Titus who, Camelot-style, who is betrayed both personally and in his ideals by those he most trusts and loves. The opera was commissioned for the occasion of the coronation of King Leopold II of Bohemia in 1791, mindful of the terrors in France, wanting to encourage the new Holy Roman Emperor with themes of noble and benevolent leadership. Some details of the historical Titus, who was a magnanimous emperor, are shown in the opera: when subjects give him gold to build a great statue in tribute to him, he requests that the riches instead be diverted to needy citizens in his realm recently affected by natural disaster. A number of themes and notes in the opera had unexpected relevance in contrast with our own current experience of national leadership. As we’ve come to expect to be spoiled by with LA Opera, not only did we get top notch singers, orchestra, and chorus, but also gorgeous set design and costumes, evoking the grandeur of a fantasy of Imperial Rome, in splendor and opulence, and later in flames and ruin. (Fun fact: La Clemenza di Tito premiered in 1791 at the Estates Theatre in Prague, which I’ve had the pleasure to visit, and which is the only theatre still standing where Mozart performed.)