With its accumulating drama and superbly sung set pieces, this account of Mozart’s 1791 operatic farewell gave every reason why it should be heard more often, whether in fully staged versions, or in the form of a concert as given at Grange Festival’s neo classical mansion. This presentation from a cast of international soloists, the Mozartfest Würzburg Choir and Les Talens Lyriques vividly brought to life the somewhat stock noble characters torn between personal loyalty and civic duty.
Recounting the compassion of the Roman Emperor Titus Vespasianus, La Clemenza di Tito was once considered to be the Cinderella of Mozart’s mature operas, Wagner dismissing the work as “stiff and dry”. If Mozart’s return to Opera Seria and its sermonising manner had had its day during the 19th and early 20th century, the work’s restoration during the last fifty years has shaken off any doubts about the quality of its music. Since its first stagings at Covent Garden (1974) and Glyndebourne (1991), Tito has now become a repertoire piece. And here at the Grange, Christophe Rousset brought out every detail and nuance of this wonderful score from both his position at the fortepiano and standing to direct his historically informed Paris-based ensemble named after the subtitle of Rameau’s 1739 opera Les Fêtes d’Hébé.
Mozart’s opera could be subtitled How to get away with murder. Notwithstanding the scheming of the villainess Vitellia and her exploitation of Sesto who agrees to assassinate her loyal friend Tito, the work’s moralising tone is eased by comic, even farcical plot twists and amorous chains of A loves B loves C loves D. These episodes are largely confined to Act 1 where Tito transfers his affections from an absent Berenice to Servilia and then Vitellia with all the speed of a contestant from Love Island. It’s a much-needed counterweight to the ambition of Vitellia and her manipulation of Sesto.
Recitative occupies much of the work, and the sung dialogues were despatched here fluently and launched in a non-nonsense manner by Greek soprano Aphrodite Patoulidou as the vengeful Vitellia. Her transformation from manipulator to pleading wretch was wholly believable, mirrored in an imperious “Deh, se piacer mi vuoi” where she breathed fire and brimstone when demanding Sesto’s loyalty. A more placatory tone wrapped itself round her Act 2 “Non più di Fiori” (a lovely basset horn in support) as Vitellia’s conscience dictates the need to save Sesto by confessing her actions to Tito. With this outstanding rendition the emotional temperature soared and lifted this concert performance to a new level.
One of the work’s drivers is Sesto’s inextricable love for Vitellia for whom she’s prepared to kill at her command. Spanish mezzo Maite Beaumont as Sesto was outstanding in this trouser role, giving a lesson in poise and perfect intonation in “Parto parto”. Later, she held us in thrall for her “Deh, per questo istante”, her remorse after the attack on the Capitol never more expressively sung as the besotted collaborator prepares to die. Such control and stamina as hers will remain the evening’s highlight.
A bright-eyed Ambroisine Bré, as Sesto’s friend Annio (the second trouser role), brought style and inimitable purity to her ensemble numbers with “Deh prendi un dolce amplesso” especially gratifying. As her role developed in Act 2 she underlined all the tender lyricism of “Torna di Tito a lato” as she advised Sesto to make amends for her crime. Her “Tu fosti tradito” was no less impressive when urging Tito to be compassionate. Similar appeals came from Anna El-Khashem’s Servilia in her single aria “S’altro che lacrime” when counselling Vitellia to examine her conscience, sharing with Annio a sense of decency absent elsewhere among the women.
Of the two men, Adrien Fournaison made for a sycophantic Publio, producing authoritative tone when telling Tito on how to deal with treachery. And as Tito, Jeremy Ovenden grew into the role, saving his best for the conflicts of Act 2, delivering a gripping accompagnato “Che orror!” and some impressive coloratura for “Se all’impero, amici Dei” as he begins to understand he cannot rule by love.
If one ignored the singers’ use of music stands, this was a compelling performance, Rousset and his (on stage) players generating terrific support, while not forgetting a well-disciplined chorus of eight at the side of the stage. Athletic strings and tangy woodwind brought colour to a supercharged Overture, thereafter Rousset coaxed a rewarding collaboration with the soloists, honours from his players especially going to two sublime clarinettists.
David Truslove
La Clemenza di Tito
Music: Wolfgang Amadeus Mozart
Libretto: Caterino Mazzolà, after Pietro Metastasio
Cast and Production:
Tito – Jeremy Ovenden; Vitellia – Aphrodite Patoulidou; Servilia – Anna El-Khashem; Sesto – Maite Beaumont; Annio – Ambroisine Bré; Publio – Adrien Fournaison; Les Talens Lyriques; Mozartfest Würzburg Choir; Musical Director – Christophe Rousset.
The Grange Festival, Northington, Hampshire, 9 June 2026
Top image: The cast of La Clemenza di Tito
All photos © Connor Apps