Customer Reviews

Mozart: La clemenza di Tito / Sir Colin Davis

5 star:		(4)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

This classic recording -- in mid-price release --is the place to start for any music lover unfamiliar with this magnificent and underrated work.

Colin Davis shows his usual flare for Mozart as evidenced in his other Mozart operas on Philips. His cast is uniformly excellent; there is not a single week link or even questionable casting choice here. This is the most satisfying ensemble on any recorded performance currently available. Yvonne Minton sings magnificently as Sesto in an extraordinary performance, the young Frederica von Stade does equally fine work in the supporting role of Annio. Lucia Popp as Servilia is heartbreakingly exquisite; her rendition of "S'alto che lagrime" is so lovely one wants to immeadiately track back and hear it once more. The rest of the cast - Janet Baker, Stuart Burrows, Robert Lloyd - all contribute fine work and are unsurpassed by any other recorded portryal. Davis guides them all (and his orchestral and charol forces) through a committed, nuanced, and emotional performance, so that this work of love, intrigue, and forgiveness builds to the cathartic finale Mozart intended.

Converts to this opera will eventually want to own at least one of the more recent, full price recordings (Hogwood on L'Oiseau-Lyre, Harnoncourt on Teldec, Gardiner on DG Archiv). All of these recordings are quite fine in their own right and boast some fine performances - particularly Ruth Zeisak on Teldec, and Anna Sophie von Otter and Julia Varady on DG - but none of these ensembles can quite compete as a whole with the 6 singers assembled by Davis.

Any lover of Mozart's music sung by great singers should have this recording.

I was very surprised to see this recording get 1 star from the previous reviewer, because it is simply wonderful, and IMO the best of Davis' Mozart opera recordings. Dame Janet Baker sings Vitellia brilliantly, with glorious coloratura. She makes one believe in the development of her character, which is really ridiculous when you think about it, but we are talking about opera. Von Stade and Minton are superb as well, and Stuart Burrows is really amazing on this recording. There is not a single weak link and Davis' conducting really highlights this work, and proves to us that it is an excellent creation. Often over-looked and under-rated, if you buy this recording, you may realize (like I did) that 'La clemenza di Tito', while not on par with the DaPonte operas, is more of a masterpiece than 'Zauberflote'.

Reacquaintance with this 1977 recording reminded me how we once took such a mouth-watering cast for granted and yet conversely might still have thought it was somewhat wasted on an opera which was long considered second if not third-rate Mozart. I still do not think that it is the equal of his greatest works but it contains much grand, stately and also tender music, and when it is as well sung and vocally acted as it is here it emerges as dramatically convincing, too.

One might cavil at the fact that it we hear three quite similar mezzo-sopranos - castrati being unavailable and it being too early to permit the casting of a counter-tenor as Sesto, for which I am grateful - but they are differentiated by timbre and characterisation and just happen to be three of the most beautiful voices of the era in Janet Baker, Yvonne Minton and Frederica Von Stade. Baker is still in her vocal prime with a thrilling upper extension, scintillating coloratura and both the venom and regality to bring Vitellia alive as the wronged princess who believes that she is to be passed over. Just listen to her in no. 10, the Terzetto "Vengo...aspettate", complete with ringing top B's and real vocal fire; I recently compared this with Diana Damrau's version in my review of her Mozart recital album and I'm afraid it was very much to the latter's disadvantage. Minton, by comparison is more desperate and plangent but equally resplendent of voice, while Von Stade is youthful and touching in the supporting, minor role of Annio - how I love her voice with its flickering vibrato and intrinsically gorgeous tone.

As if all this were not enough, we are treated to a sonorous, sturdy Publio from Robert Lloyd, a silvery Servillia from Lucia Popp and, finally, a noble and touching, smoothly vocalised Tito from Stuart Burrows. His mildness and sweetness of tone are not out of place in his depiction of the clement Emperor.

Colin Davis brings lithe, taut direction to the score; nothing drags and the Royal Opera House Orchestra and Chorus respond alertly and energetically. Obviously this is no period performance but there is absolutely nothing stodgy in its tempi or overblown in its textures.

Most people will not want more than one recording of this opera in their collection and will initially make a selection of either a HIP version or an earlier, more traditional performance. With its singing and playing this good and given that I have no special attachment to supposed historically informed practice per se, this set is my first choice.

Mozart: La clemenza di Tito / Sir Colin Davis is a recording under the direction of Sir Collin Davis who leads the Chorus and Orchestra of the Royal Opera House and was recorded by Phillips Classics Productions in 1991. The booklet is quite massive and contains 172 pages. It contains one well written essay by Peter Branscombe called "The Fall and Rise of a Masterpiece 'La clemenza di Tito'". One also gets a synopsis written by Bernd Delfs. The lyrics come in French, German, Italian and English. It also contains several nice photographs of the performers. Highly recommended. 5/5.

i have to disagree somewhat with the reviewer below. baker doesn't sing badly, but there isn't a lot of separation between her and minton, a mezzo who sings sesto. even when singing the soprano's part, baker sounds too much like a mezzo. when the two are singing together, it's often hard to tell who is who. compare this with the hogwood set where a soprano, della jones, sings vitelia opposite cecilia bartoli, a mezzo with a dark and easily distiguishable, timbre. much better contrast; much easier to follow and appreciate.

the other singers here are well cast and sing well. stuart burrows, in particular, unlike many other tenors in this role, actually sounds like an emperor. lucia popp is lovely, though i prefer barbara bonney's servilia: much more sweet and innocent sounding.

a good set but not my favorite because of casting issues.

My initial impression is these are not the prettiest voices I've ever heard although I love Von Stade who appears in a smaller role. Of course, she doesnt sing anything as exquisite as Cherubino's arias here. I think that Janet Baker, whom I've never been that excited about while others adore her, who sings excellently here but sounds somewhat like Callas before the voice plunged, is responsible for my reservations. Never having heard any other recordings I leave it to you to explore. Although this is Mozart it is not the Mozart of Figaro or the Don. Still, it has it's moments and familiarity may breed more pleasure.

This product was as good as advertized - mint condition even though used. SF Classical was reliable on this including on-time delivery.

I really do not like the way Dame Janet sings Mozart, I love her Schubert and Faurè on Hyperion collections and I also love when she sings many other lieder (or songs), but to opera Dame Janet Baker is not what I excpect from a singer, I only loved the performance of Lucia Popp, her voice is quite angelicate. I prefer the recording of Sir J. E. Gardiner with Mrs. Varady as Vitelia and Anne Sophie Von Otter as Sesto. But the best Vitelia you will find in Della Jones' interpretation for this role, under Hogwood, ....I have never seen someone like her singing this role, that is one of the most exquisite and dificult roles in the universo of the Mozart operas. And, of course, Colin Davis is not a really good conductor on Mozart ... he loses himself easily in the huge universe that Mozart is.