Spain Vivaldi: Tito Manlio, Concerto de’ Cavalieri, Marcello Di Lisa (conductor), Madrid Auditorio Nacional, 23.3.2014 (JMI).
Concert Version
Cast:
Tito Manlio: Magnus Staveland
Manlio: Vivica Genaux
Servilia: Ann Hallenberg
Vitellia: María Espada
Lucio: Nerea Berraondo
As the program notes explained, Antonio Vivaldi composed this opera to a libretto by Matteo Noris. The premiere took place in Mantua in 1719, and it was an immediate success, so much so that the following year il prete rosso received a commission from Rome for a new opera with the same libretto. Unfortunately, that score got lost, but the recent discovery in Rome of a collection of arias has enabled the reconstruction of the piece at least as far as the arias and duets are concerned. Apparently this Roman version of Tito Manlio had two other composers as well. Although Vivaldi had the final responsibility, only the third act seems to have been composed by him.
The opera narrates the story of Manlio and his father, the consul Tito, who condemns his son to death for disobeying orders. A somewhat complicated love story serves as the background to the central theme of the father-son relationship, which is eventually crowned with a happy ending.
The opera narrates the story of Manlio and his father, the consul Tito, who condemns his son to death for disobeying orders. A somewhat complicated love story serves as the background to the central theme of the father-son relationship, which is eventually crowned with a happy ending.
The version staged in Madrid offered arias and duets ̶ a total of twenty-three arias, two duets and a final chorus ̶ but eliminated the recitatives. The opera is not a masterpiece, but it is enjoyable and features an inspired third act.
The musical direction was in the hands of Marcello Di Lisa. Both the conductor and Concerto de’ Cavalieri have shown their proficiency in the Baroque style, though neither can be compared with certain other existing specialists in Baroque music. His conducting seemed correct to me but somewhat short of life, and a similar comment could be made about the orchestra.
The musical direction was in the hands of Marcello Di Lisa. Both the conductor and Concerto de’ Cavalieri have shown their proficiency in the Baroque style, though neither can be compared with certain other existing specialists in Baroque music. His conducting seemed correct to me but somewhat short of life, and a similar comment could be made about the orchestra.
The most important character in the opera is Manlio, and the part was sung here by Vivica Genaux. She was quite good in the role and outstanding in technique. Manlio has no fewer than six arias and one duet, and Ms. Genaux was at her best in her final aria, “Meco gioite,” which is most demanding in coloratura.
Mezzo soprano Ann Hallenberg is one of the best singers in baroque opera, and she was excellent as Servilia. In her five arias and two duets there were no true bravura passages, which is where she has almost no rival nowadays. In any case, once again she proved her undoubted quality.
Soprano Maria Espada was well-suited to the part of Vitellia, Manlio’s sister, and she was excellent throughout the opera. I have always thought that she is unjustly undervalued.
Tito Manlio was Norwegian tenor Magnus Staveland. He was good but had some unattractive sounds at the top of the range.
Nerea Berraondo left a positive impression in the character of Lucio. This young mezzo soprano has a pleasant voice and sings with good taste. In the first of her arias, “Vaghi luci, luci belle,” she was excellent, but in the aria “Di godere la bella che adoro” it became clear that her voice is rather small, which could be a serious handicap to her promising career.
José Mª Irurzun