La Clemenza di Tito

Welsh National Opera 14/3/02

Oxford Apollo

There's so much good music around in Oxford that it's seldom any single event stands out as exceptional. La Clemenza di Tito was a truly world class performance, with singers who wouldn't be out of place in the Met, and what must be one of the best opera orchestras in Europe.

Tito is Mozart's last opera seria, a wonderfully balanced sequence of baroque style recitatives interspersed with classical, and occasionally almost romantic arias. Written to celebrate royalty - it was composed to celebrate a coronation - the opera is a typical tale of loving and losing, with the clemency of the title unlocking the problems of the characters in the stirring dénouement. This is Mozart at his very best, with arias which are both perfectly poised and deeply moving, imploring and emotive. Through two long halves the music never once loses momentum, and the audience cannot help but be transfixed throughout, despite the rather unrewarding plot.

It is hard to imagine the opera being brought to life better than it was by the star WNO cast, inspiringly conducted by Harry Bicket. Singing on a set that was minimal, but evocative - and which left the performance unencumbered by hefty scene changes - the singers moulded the phrases into perfect arches over the strong tone of the orchestra, and created an atmosphere so poignant that the surtitles often proved unnecessary. All were superb, though Geraldine McGreevy's Vitellia, Monica Groop's Sextus and Katija Dragojevic's Annio deserve especial mention. McGreevy's final aria, an intriguing duet with the basset horn, was simply exceptional, a heart-rending evocation of her inner battle. Timothy Robinson, in the title role, was also excellent, a commanding presence even in the quietest moments.

Such exceptional singing talent, accompanied by an orchestra that played with great variety of tone and pace, and a design that was unimposing and effective, provide the best opera I've seen this year. If you spend £15 on any music this year, spend it on this.

Greg Sanderson