La Clemenza di Tito

Usher Hall, 9/8/25

Scottish Chamber Orchestra, Maxim Emelyanychev conductor

Scottish Chamber Orchestra Chorus, Gregory Batsleer chorus director

Giovanni Sala (Tito), Angela Brower (Sesto), Tara Erraught (Vitellia), Hera Hyesang Park (Servilia), Maria Warenberg (Annio), Peter Kálmán (Publio)

Maxim Emelyanychev treats Mozart’s last and often undervalued opera. ‘La Clemenza di Tito’ to a bold interpretation, musically and dramatically, ably abetted in energy and musicianship by the 42 members of the SCO, the 50-strong SCO chorus and six superb soloist. Directing from a period keyboard, Emelyanychev provides continuo with Philip Higham (cello), while directing the orchestra (sometimes one-handed!) and turning round to exhort the singers in the semi-staged performance at the front of the stage. When the musical director is  the overall director, then superimposed concepts are forgotten and the drive and meaning come from the music, the words and the musicians.   

Nearly all the singers have recently played their roles onstage. Giovanni Sala as Tito has a secure and flexible tenor, creating easy charm in the first half, and later a character struggling with his emotions. Tara Erraught, who’s sung the opera’s three mezzo roles, is an exceptional Vitellia, exploiting the full range of her voice in the descent from anger to oblivion.  Gifted singers, soprano Hera Hyesang Park as Servilia and mezzo Maria Warenberg as Annio, use their lovely voices to make us believe in their tale of love versus duty. Peter Kálmán as Publio has an authoritative bass baritone voice, and sings an unusually interesting interpretation of his aria. Sesto is the pivotal character of the opera, and with two stunning arias is a prized role for a mezzo.  Angela Brower is one of the finest I’ve heard, with a firm focused voice.

The opera’s conflicts, take place through the recitative, with, in some performances, a reduction in tension in the arias which follow.  Where Emelyanychev differs from other interpreters is in carrying that tension though to the duets and arias.  This happens in Vitellia’s encounter with Sesto at the beginning of Act 1. The mood of their brilliantly timed exchanges, carries on into the harmonised duet when Vitellia’s poisoned words really hit home. In Act II the debate between Tito and Publio rouse both to real anger. The sense of justifiable rage carries on, providing a new slant to Publio’s only aria.

Mozart’s instrumentation in ‘Clemenza’ included his new favourite instrument, the clarinet and the two biggest arias have obbligatos for the deeper notes of the basset clarinet. For Sesto’s ‘Parto parto’ with its increases in pace, and breathtaking runs through the voice – ably delivered by Angela Brower - Maximiliano Martin brings the basset clarinet to the front of the stage where its burbling sounds echo and weave around the voice. Vitellia’s final aria which demands Tara Erraught’s full range from high to low notes, is accompanied from the orchestra by the basset clarinet, and, for these very low notes, the splendid basset horn, played by William Stafford.

The SCO Chorus, who process on mid first act to trumpet and drums, sing patriotic music when Tito is on stage, and act as commentators on the fire in the Senate. In an opera where the emperor’s backroom affairs are given prominence, the chorus reinforces the importance of his public persona.

Two and a half hours of brilliant music, playing to a packed, enthusiastic Usher Hall, surely proves that we need more opera in the Edinburgh International Festival!

Photo credit Andrew Perry EIF