Most Helpful Customer Reviews
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23 of 23 people found the following review helpful:
5.0 out of 5 stars
Mozart's Aida, April 23, 2006
I can think of a couple of possible reasons why Mozart's last opera isn't as beloved or oft-performed as the four masterpieces which preceded it. One, the story and characters, for most audiences at least(although I've personally never been in love with the story of The Magic Flute despite my affection for the music), aren't as engaging as in the other works, there isn't a Figaro or Papageno or Donna Elvira or Despina to be found among the deathly serious characters who populate Titus' royal entourage. Second, La Clemenza di Tito has an inordinate amount of recitative for a Mozart opera, not enough "real" music. These are valid criticisms, I suppose, but they should be swept to the wayside, for Tito is a masterpiece in its own right. The story presents a compelling dramatic situation even if it is a tad old-fashioned, filled with both inner and outer conflict, and while the characters, on paper at least, may seem fairly "stock," Mozart's wonderful music allows them to live and breathe emotionally. And as for the music, there might not be as much of it in this opera, but what music there is is truly breathtaking, from short arias and duets to long winding passages that run the gamut and leave the listener emotionally exhausted; frankly, it is some of the most adventurous music, both vocally and orchestrally, that Mozart ever composed. La Clemenza di Tito may harken back to the days of opera seria both in story in structure, but the music is all late period Mozart. In fact, this opera reminds me of Aida in that it looks both backward and forward: backward by returning to a more classical style of storytelling, resembling ancient tragedies and morality plays, but forward in the progress of the music, the way it flows and gives substance and range and individuality to traditional character types, transforming them into multifaceted human beings who force us to feel. No small praise, since Aida is among the most classically beautiful operas ever written.
Jean-Pierre Ponnelle's film of this opera, made among the ruins of Rome, is an excellent realization. The mostly outdoor settings are lit in a way that makes them look dreamy, surreal; I don't mean to be facetious or critical when I say that they resemble gigantic versions of aquarium props, they have a glow that, despite the locations' age and abandonment, makes them glitter with life.
Of course the singers play no small role in bringing life to these ruins. Ponnelle has assembled a great cadre of Mozartean voices. Sesto is clearly the most demanding role in the opera, and the director couldn't have found a better interpreter than Tatiana Troyanos. Her voice was made for this style of singing, dramatic, deep, acrobatic, plaintive, tormented and involving. Carol Neblett makes a fiery Vitellia; with her Medussa hairdo and burning expressions, she rules the stage, particularly during the long, showstopping aria in the second act which is a tour de force for the dramatic soprano, handled with exquisite panache and sensitivity. Eric Tappy, looking a little like a hippie Tyrone Power, makes a strong impression as Titus; his voice sounds artificial in the opening recitatives, but once he starts singing that beautiful music, the listener realizes his voice is ideal for the Mozart style, lovely and agile and brimming with life. A very young Catherine Malfitano is Servilia, showing signs of her star power to come, and Anne Howells ably rounds out the cast as Annio, fitting in with her peers as a wonderful Mozart singer.
Tito doesn't have the immediacy of Don Giovanni, The Magic Flute or Figaro. Admittedly, the first time I heard it I was lukewarm toward the opera. Seeing this film was only my second time experiencing Tito and I fell in love with it. I now consider it a rival to the four acknowledged masterworks, and I plan to return to this DVD again and again. As a matter of fact, I'm looking forward to it!
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20 of 20 people found the following review helpful:
5.0 out of 5 stars
The Clemenza di Tito renaissance continues beautifully, April 18, 2006
On the heels of the recent excellent Clemenza DVD from Opus Arte, comes this DGG DVD of a beautiful film of the opera directed by Jean-Pierre Ponnelle. It was filmed on location in Rome at the Baths of Caracalla, the Arch of Titus and at the Villa Adriana in Tivoli from 10 May-16 June 1980 with the sound recording made in Vienna at Wien-Film 6-12 May 1980. Ponnelle favored singers lip synching their arias so that they might concentrate on acting, thus improving the dramatic aspect of opera. It seems to work here. Clemenza, more than most Mozart operas, relies on lengthy expository recitatives to further the story. These recitatives, as is well known, were not written by Mozart but by his assistants, probably Sussmayr. Slightly less effective as they are, any dramatic enhancements are an improvement. The film's cinematography is beautiful, with most of the film shot at night or in twilight. Roman ruins have never looked so stunning: they tower over the singers, as if making an existential statement about the powerlessness of humanity, the essential illusion of power, the historical inevitability of fate. History, itself, becomes a character. It was an inspired decision to film the opera in this fashion. The DVD is worthwhile for the film's beauty. The acting of the singers increases the effectiveness of the opera's drama, making what are admittedly quite artificial opera seria situations more believable. Overcoming that artificiality is one of several attendant difficulties in presenting opera seria to a modern audience. Ponnelle succeeds admirably.
The singing is expert, as well. By pre-recording the voices a certain artificial perfection is offered. Some will consider this anathema: fatal to their preferred experience of staged opera. If you fall into this purist camp, you will not approve of this film, so be forewarned. If, however, you can accept this inauthenticity for the greater good of a finer filmed opera, the payoff is some sterling singing. Beginning with the stunning performance of Tatiana Troyanos in the trouser role of Sesto. She is superb in all facets of her role. Eric Tappy is a suitably regal Tito. Carol Neblett is excellent as Vitellia. Annio is sung by Anne Howells. Catherine Malfitano is Servilia. Kurt Rydl is Publio. It is a very strong cast. Mozart's music is gorgeous: a cross between Figaro and the Magic Flute. It is a more sedate score than either. Mozart, had he lived, appeared poised to create a new, more mature compositional style. The great Vienna Philharmonic sounds wonderful under conductor James Levine. This film was done right. It is a pity that Ponnelle, who intended to film all of Mozart's operas, was able to film only four before passing away at age 56 in 1988. This production is a fitting monument to his talent.
The picture format of this DVD is NTSC shot full screen with an aspect ratio of 4:3. The region code is 0 worldwide. The film looks spectacular. The sound formats are PCM stereo and DTS 5.1 Digital Surround Sound. Both sound great with the DTS providing a greater sense of space and ambiance. Menus are in English. Subtitles are in English, Italian, German, French, Spanish and Chinese. Extras include various promos for DGG DVDs. The total time of the disc is 135 minutes.
A superb filmed opera, beautiful to look at and lovely to hear. If you don't mind Ponnelle's lip synch technique, this DVD is strongly recommended. La Clemenza di Tito is finally receiving long overdue attention; the performances recently available make a strong case for Mozart's final opera.
Mike Birman
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
well worth it!, November 21, 2006
An excellent opera "movie" with an extroadinary cast and while there is lip-synching most of us would not notice it. I showed it to a bunch of opera fans and they thouht the opera and performance were great!
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