Review: (Toronto) La Clemenza Di Tito

Keri Alkema and Isabel Leonard as Sesto (photo: Michael Cooper)

Light, Modern, Lovely
by Shannon Christy

What stands out about this La Clemenza Di Tito is how modern and streamlined this production makes the works of Mozart. Opera Atelier’s production in 2011 seemed like it had been under two and a half centuries of dust.  Here, Director Christopher Alden takes advantage of Mozart’s lightness to create a very modern almost minimalist piece.  The stage setting is tight while the lighting and effects complement the singers’ performance on stage: a combination of perfectly directed characters, funny details and wonderfully touching voices . Everything combines in a quick paced performance that looks natural and unforced. 

The end effect in combination with the excellent use and manipulation of the lighting, by Gary Marder, is a piece that allows the performers to utilize the entire stage in sync with the music. 

This is the second piece directed by Christopher Alden this season and he certainly utilizes the same skills in La Clemenza Di Tito that he used in Die Fledermaus. Two examples that come immediately to mind are the set and the comedy. 

First the set is a large stark white marble Hallway. It is set at an angle and is accompanied with a deliberately exaggerated set of interior lamps dangling off an enormous chain. It looks as if the Lincoln Memorial in Washington D.C. went Disco. To contrast this is the colour red. Throughout the piece there is a large red carpet strewn parallel to the wall and in the second act there are several red velvet ropes with well-polished brass poles along the carpet.  The lighting by Gary Marder is the cherry on the cake. His use of tones, reflections, intensity, and objects are breathtaking. The end effect in combination with the excellent use and manipulation of the lighting, by Gary Marder, is a piece that allows the performers to utilize the entire stage in sync with the music. 

The performers use this freedom of movement to make you laugh. Despite his stressful life Mozart was always good for a laugh and in this presentation of La Clemenza di Tito there is plenty of laughter. It is done particularly well with the performances of Wallis Giunta as Annio and Keri Alkema as Vitellia.  Ms. Giunta’s Annio seems to have been based on the 1980’s tennis sensation Bjorn Borg. With Borg’s iconic headband, Annio stretches, shadow boxes, and sprints to produce laugh-out-loud moments. As Vitellia, Ms. Alkema uses her facial expressions to deliver her jokes. In one instance after she has been discovered talking with Sesto who is in the process of being arrested for crimes she drove him to commit she looks to the arresting officer, Publio (played by Robert Gleadow), at first with an expression of complete innocence then while moving away quickly from the soon to be condemned Sesto, with a certain level of wanton seduction directed towards Publio. 

@schristy79

All of the performers are delightful but of particular notice is Sesto, played by Isabel Leonard, and Tito played by Michael Schade. Ms. Leonard’s range can go from dulcet tones seamlessly into a penetrating melodious tone that radiates into your core as she pleads for the chance to kiss her Emperor's hand.  Mr. Schade's voice is clear, authoritative and expressive. It does not appear that he is working at all but is instead having a good time.  Both give a magnificent performance.  

Finally, Conductor Daniel Cohen, who makes his COC debut from the Israel Philharmonic Orchestra, propels the tempo while setting the mood flawlessly. 

This is a lovely production and is a brilliant contrast to Tristan Und Isolde.

La Clemenza di Tito runs to February 22