From around the word: Vienna, VA.(North America)(Opera Review)

The more-or-less postmodern sets and costumes looked a little tired, but there was considerable musical urgency in Wolf Trap Opera's performance of La Clemenza di Tito June 28, starting with the crisply played overture (thankfully, unaccompanied by any stage business). Conductor Steven Mosteller maintained effective tempos throughout, providing plenty of forward momentum but no feeling of haste. There was no shortage of sensitivity, either. And his compact, alert orchestra had the score's tapestry of instrumental colors unfolding beautifully all evening; the woodwinds particularly excelled. That sparkle did not, however, carry over into the recitatives, which received square, occasionally downright leaden accompaniment at the harpsichord.

An animated cast explored the political and sexual intricacies of a world that, as conceived by scenic and costume designer Luke Hegel-Cantarella, suggested the Mussolini era. Tito even looked rather like II Duce, sporting an ostentatiously gilded clasp for his cape when he first swept into view. But this emperor was, of course, chronically prone to beneficence, so any fascistic hints faded quickly. Simon O'Neill's portrayal of Tito was stiff in movement and gesture, though his singing was anything but constricted. The tenor revealed a sizable, vibrant tone that easily filled the intimate Barns of Wolf Trap. Although the lower register turned a little cloudy and the overall dynamic level rarely dropped below loud, there was still sufficient variety in the shaping of phrases to give his performance interest and a certain degree of authority. Carolyn Betty proved even more commanding as Vitellia, with her large-scale, sure soprano. This was juicy singing, full of expressive color mad, in the upper reaches, an exciting touch of metal. Her characterization, too, was telling, especially all the petulant bits at the start.

Stacey Rishoi's sympathetically acted Sesto was nearly as impressive, delivered in warm, round tones that could achieve considerable force when needed. Much the same could be said of another mezzo, Angela Niederloh, as Annio. Miranda Rowe brought mostly dead-on vocalism and plenty of charm to the role of Servilia. Looking like he was perpetually smelling cauliflower, Matthew Boehler made a suitably officious Publio, revealing a promising bass. The chorus did solid work. Garnett Bruce's direction could have used more animation and nuance here and there, but it meshed snugly with Hegel-Cantarella's vision--an antiseptically sleek, impersonal Rome for the first act and, following a neatly conveyed fire (James Sale's lighting came into its own here), a burned-out, ragged-edged shell for the second. Although 1930s fashions certainly retain their appeal, not much was gained by their use here. All the updating, for that matter, seemed more forced or formulaic than the result of any deep reconsideration of the opera. But the considerable original power of Clemenza ...