<< -- 2 -- Robert Anderson MIRACLE FOR BOHEMIA!
Ultimately we may not be too much concerned who shall end up after what
vagaries as Titus's bride. He might have done much for Middle East peace
if he had stuck to Berenice, sister of the Herod Agrippa before whom Paul
appeared at Caesarea, and daughter of the tetrarch who enjoyed Salome's
dancing to such effect. There are desertfulls of secco recitative
to be trudged through before the ordained marriage can be achieved. The
best music may well be in the overture, but a Mozart letter of October 1791
to his wife Constanze shows that the citizens of Prague had a nice perception
of what was next best.
Vesselina Kasarova and Bruce Ford in the Royal Opera House 2002 production of 'La Clemenza di Tito'. Photo © Bill Cooper
At the last performance of Tito, which happened also to be the
night of The Magic Flute's première, the bewitching duet in
A for Servilia and Sesto had to be repeated, and Stadler who played the
clarinet obbligato for Publio, then corno di bassetto in the cause of Vitellia,
was wildly applauded. Mozart was gleeful: 'Cries of "Bravo" were
shouted at Stodla from the parterre and even from the orchestra -- "What
a miracle for Bohemia!"' I clapped my hardest for John Payne in Stadler's
role, if indeed it was he.
Barbara Frittoli (left) and Vesselina Kasarova in the Royal Opera House 2002 production of 'La Clemenza di Tito'. Photo © Bill Cooper
Copyright © 13 October 2002
Robert Anderson, London, UK