It was during the recent run of Cosí fan tutte at the COC that I realised that I really needed to get my hands on the M22 recording (Salzburg 2006). Specifically it was discussing the Salzburg reading of Ursel and Karl-Ernst Herrmann with Thomas Allen and Rachel Andrist; who is the on stage continuo player in the Salzburg recording. It sounded like there might be interesting parallels. And parallels there are. In both cases the girls are aware of the “plot” (in every sense). In both cases four attractive young singers have been cast as the lovers and Don Alfonso and Despina made much older and more cynical. There I think the parallels end. Egoyan’s vision is essentially a positive one about relationships. The Herrmans, I think, are more interested in exploring the psychologically destructive power of love and desire.
The heat and humidity of a Toronto summer aren’t especially conducive to dealing with most of what’s in my DVD review pile right now (Wagner chiefly!) and the live music pickings are slim as, Toronto Summer Music Festival aside, music has departed for the land of moose and loon. I thought, therefore, that I might take another look at some old favourites and see how they shape up to a second look. I thought I’d focus on works where I have seen many subsequent productions or, perhaps, on works once seen only on DVD but which I had more recently been able to see live.
The Opéra national de Paris 2005 production of Mozart’s La Clemenza di Tito is very fine. Ironically it’s actually quite a conventional production overall though one scene, the one where Tito makes his first appearance, is so weird that it provides the generic name used in some circles I frequent for an entirely inexplicable production element (see below).