CLEMENZA DI TITO at the Met

Tuesday May 6, 2008 - Mozart's CLEMENZA DI TITO is one of my favorites among his operas. The vocal writing is rewarding, with magnificent arias like "Parto, parto" and "Non piu di fiori". The Jean-Pierre Ponnelle production has served the Met nobly for over two decades and holds up well, although as with so many productions the lighting has become almost comical at times.

Lisette & I were cozy in our little balcony box with some Lindt chocolate to sweeten the intermission.  She had attended the dress rehearsal and gave me a rundown of how she thought the singing would be. 

The orchestra under Harry Bicket  - with David Chan (photo) in the concertmaster's chair - were spectacular and  their brilliant playing and Mr. Bicket's astute tempi and fine support of the singers made the evening all the more enjoyable. The incredible virtuosity of clarinetist Anthony McGill was a revelation in the obbligato of "Parto, parto" where his seamless line, beauty of tone and flawless scalework complimented Susan Graham's singing at every turn. Equally impressive was the basset horn soloist James Ognibene in "Non piu di fiori".

Ramon Vargas produced some lovely phrases and striking piano effects in Act I but his voice seemed just a trifle unsettled. After the intermission he attained the heights with his captivatingly nuanced recitatives and a dazzling rendition of "Se al'impero" which elicited a big audience response. Beauty of tone and tenderness of expression abounded. The clarity and Italianate warmth of Ramon's vocalism always fall so pleasingly on the ear; to me his voice is an extension of his kindness and generosity of spirit which always made my encounters with him when I worked at Tower so inspiring. Does any other singer sing as compellingly from the heart as Ramon Vargas?   

Tamar Iveri (left) was a vivid Vitellia though it took all her concentration to propel her way through the low-lying phrases of "Non piu di fiori". Her darkish timbre was appealing and she managed the fiorature and the touched-upon top D in the trio with skill. She is an intense physical actress.

Basso Oren Gradus was a serviceable Publio but he suffered the  indignity of the stagehands making a lot of noise during his aria. As Servilia Heidi Grant Murphy sounded dryish and inflexible; a few pleasing notes reminded us of her past successes but Servilia's music calls for youthful dexterity and tonal sweetness which are no longer hers to offer.

Susan Graham is certainly having a dream season at the Met. Earlier her Iphigenie in the Gluck opera was one of the most moving and expressive portrayals I've seen at the Met in the last decade. Tonight she triumphed as Sesto, her 'Parto, parto' evoking prolonged applause. Graham's timbre and dynamic pliancy have been refined to a high degree and her command of the piano/pianissimo gradations of sound is really impressive. A well-deserved ovation greeted her curtain calls.

Anke Vondung (photo), who sang Cherubino with great success to Lisette's Susanna earlier this season, returned for Annio. She was a bit neutral in the first act but blossomed amazingly in Act II with her warm and nicely shaded singing and impeccable style. She was convincingly boyish and could easily tackle Sesto. I hope the Met will have her back.

Lisette and I looked at each other in disbelief as the couple from the box beneath us decided to pack up and leave right in the middle of Susan Graham's most affecting moments in "Parto, parto". Inexcusable.