MOZART: II Sogno di Scipione.(Review)

MOZART: II Sogno di Scipione [] Hartelius, Larsson, Brandes; Ford Workman, Ovenden; Choeur des musiciens du Louvre, Freiburger Barockorchester, von der Goltz. 2000. Text and translation. Naive E8813 (2) (Harmonia Mundi, dist.)

This delightful little allegory was composed by Mozart at the age of sixteen for the fiftieth anniversary of his patron, Sigismondo, the Prince-Archbishop of Salzburg. (When Sigismondo died before it could be performed, Mozart re-dedicated it to his successor, Hieronimus Colloredo, for his installation). If Il Sogno di Scipione understandably lacks the maturity of Mozart's later, greater works, it still bears all the fire, dramatic sensibility, inspiration and subtlety we associate with this unrivaled genius.

The compact libretto by Metastasio tells of a Roman general, Scipione, who dreams that he must choose between two goddesses, Costanza and Fortuna. Along the way, he journeys with them to heaven, where he encounters the shades of his father, Emilio, and grandfather, Publio. They offer him support but refuse to make his decision for him. Scipione ultimately chooses Costanza, and in an epilogue, a new character, Licenza, appears to pay homage to the Archbishop. Realizing his tale was not long on plot or dramatic tension, Metastasio knew he had to keep it brief, yet Mozart manages to explore every emotional angle, creating sympathetic, three-dimensional characters from these potentially stock allegorical figures.

The six soloists are all high voices -- three sopranos and three tenors -- and Mozart, with the impetuosity of youth, is ambitious in his demands. The florid, bipartite arias are riddled with unexpected leaps, relentless runs, potentially throat-constricting tessituras and other vocal infelicities. This talented cast rises gamely to the occasion. Malin ...