“Motezuma” by Antonio Vivaldi - Theater Ulm, Germany

Photos : Theater Ulm

Oxana Arkaeva

Antonio Vivaldi´s opera “Motezuma”, is a 285 years old opera-excavation and a surprisingly modern piece of the musical theatre. Known until 2000 only as the libretto by Girolamo Giusti, the incomplete score was acquired in the 19th century by the composer Carl Friedrich Zelter for the Gesang Akademie in Berlin. Lost during the Second World War, the archive was rediscovered in 1999 in Kiev, where the Soviet troops have brought their "looted art".  In 2001, Ukraine returned the archives, and in 2002 the original score was rediscovered again counting only 17 of the 28 arias and with no recitatives. The first official „world recording premiere" took place in 2006, when Vivaldi specialist and composer Alan Curtis conducted the recording for the Deutsche Gramophone. Together with Alessandro Ciccolini, he created a version with Vivaldi-style recitatives, replacing the missing arias by other Vivaldi pieces. Further attempts by various artists to bring the opera on staged resolved in the legal dispute at the Civil Court granting the Academy the sole copyright on the composition in 2009. The above-mentioned Curtis/Ciccolini version is the one, the theatre Ulm, as the first opera house in Germany, has chosen for its new production.

The premiere began with the announcement from the Intendant Andreas von Studnitz declaring that the singer of the title role Martin Gäbler is sick and that the company was lucky to find the baritone David Pichlmaier from Darmstadt, as a short-term replacement. Pilchmaier, who managed to learn this incredibly demanding part in just two days, saved the theatre from the very realistic cancellation of the premiere, singing with impressive technical mastery and great musicality. Antje Schupp, who undoubtfully belongs to the young and promising generation of the contemporary German music theatre stage directors, presented the strikingly up-to-date reading of the libretto. Defining the plot as “terrifyingly timeless”, Schupp tells the story about "how power controls people," and of the eternal struggle of the indigenous populations for their rights. The libretto evolves around events of the disempowerment of the title hero Montezuma by the Spanish conquistador Hernán Cortés, here called Fernando. The librettist also added some fictional figures like Fernando´s wife Mitrena, his brother Ramiro, a daughter Teutile and general Asprano. 

The evening that began as the vernissage of the "Motezuma" exhibition at the Prado Museum, undergoes several transformations from the show room to the conference hall in the United Nations and later to the burning ruins of war (impressive stage design by Mona Hapke). The framed pictures on the walls first serve as the text projections offering the story of the meeting that took place on March 1519 between Montezuma and Cortéz, and later as horrifying display of war images, thus visually complementing the action.

But first, snacks and drinks are being served, and guided tour is taking place. The white, clear-lighted hall showcases life-size figures of Mitrena and Teutile dressed in fluffy “Indigenous” clothing, and the sword-swinging Montezuma on the pedestals among baroque paintings and pre-Columbian artefacts. Remaining immovable for the whole overture, they somehow remind of the “Night at the Museum” movie, making curious of what is going to happen next. And indeed, the minute the vernissage is over, the "dead" Aztecs come to life, immediately engaging in the fast-paced action. Undoubtedly dictated by the numerous virtuoso da-capo arias, coloraturas, cantilenas, numerous ornaments, briskly tempos and explosive dynamics, this action and “Motezuma´s” score is very much typical for the 18^th-century opera theatre compositions and especially for the style of Antonio Vivaldi. The Philharmonic Orchestra of the city of Ulm under the button of Michael Weiger presented an energetic, swift, though, at time disconnected from the stage, and complemented a. o. by historical instruments, authentic sound.

The staging provides some earnest reflection upon amusing aspects and sheds light upon real historical events and figures. Not shying away from the slapstick, Schupp, often uses little, to express a lot, never overdoing and creating an intelligent, well thought through and sober political satire. Like, when Motezuma shoots an invisible arrow at Fernando, (impressively acted and sung, with virtuoso voice, vocal bite and softness soprano Julia Sitkovetsky), the later falls back jiggling his legs and then laments displaying a bandaged finger. Not so funny though is the scene when Fernando forces Teutile to an oral satisfaction, later treating Motezuma like a dog and pointing his automatic gun at the audience. Later the museum is transformed into the United Nations session hall, where the Conference on the Protection of Indigenous Peoples takes place. While politicians are having a small talk playing with their smartphones, the representatives of indigenous peoples attempt to sue the of the conquerors in front of the human rights tribunal. Their energetic appeal is simultaneously video transmitted creating surreally real atmosphere. The bright stage light suddenly is directed at the audience, making everyone visible and to a participant of this political farce.

Ready to fight, the courageous Mitrena calls for the compassion for "savages" during her big accusation aria (powerful singing and strong stage presence mezzo-soprano I-Chiao Shih). Asprano (first hilarious as the mute figure and later great in her virtuoso trumpet-aria soprano Maria Rosendorfsky) violently waves the ethnic blanket and Motezuma even attempt a suiside. Despite all efforts, their call remains unanswered. The indigenous people seem to have lost and instead the tension rises. The diplomats, just seconds ago were smiling in the cameras, are already fighting. The general Ramiro (wonderfully sang and delightfully acted mezzo-soprano Christiane Boulanger) covered with medals, delivers a slapstick “Little Dictator” show. A quick press of the red button, and the entire world is blown up. Reduced to ruins, with marauding troops taking selfies with severed body parts; the museum is now the place of burned ashes, machine guns and charred bodies: A horrifying and complete destruction.

The joyful Teutile (beautiful in singing and utterly convincing in acting soprano Helen Willis) turns to the grey-haired, old woman. Prepared for the ritual murder and simultaneously filmed, the whole scene resembles the confession video of fundamentalist suicide-murder. A vengeful Mitrena declares revenge while flames blaze around her and the unfortunate Motezuma is being locked up by Aspano in the burning tower, luckily escaping the sure death. In the end, Fernando’s victory is celebrated. Amongst the oversized logos of Apple, McDonald, Shell and Monsanto the forced peace agreement and macabre wedding between Teutile and Ramiro are taking place. On the ruins of the destroyed city, the new, better world will be built. Whether it will become a good one remains open. For now, it is just a transition from the terrifying night in the museum to non less realistic and sober reality.

La Clemenza di Tito in Ulm, Germany

Photos: Theatre Ulm

Oxana Arkaeva

An open stage. Dark, desolate, immersed in the blood-red light. In the middle stands a man. Dead bodies lying scattered around him. His clothes and his sword point to one from the military and his posture reveals his aristocratic origin. Only a wolf mask covers his face. It is a war scene- that of a blood-soaked victory. Curtain falls, and the music starts. Thus, begins the premiere of the opera by Wolfgang Amadeus Mozart "La Clemenza di Tito" at the theatre in Ulm, Germany.

Background The first performance of the last opera by W. A. Mozart "La Clemenza di Tito" took place on September 6th, 1791 at the Prague State Theater culminating coronation festivities of the Emperor Leopold II to the King of Bohemia. Prague Impresario Domenico Guardasoni did not have much trouble to find a suitable material for the Coronation Opera. The story of the Roman Emperor Tito Vespasiano an “ideal” ruler adapted in Libretto by Pietro Metastasio's in 1734 was set to music more than 40 times and appeared to be the most appropriate for such an occasion. The choice of composer, however, posed a challenge. Antonio Salieri, who was initially selected cancelled short term and precisely his opponent Wolfgang Amadeus Mozart was now commissioned with the composition. Mozart appointed Saxon court poet Caterino Mazzolà to be in charge of the libretto and produced the score in very short time and under high pressure.

Libretto and music The researchers attempt to define "Tito" not only as Opera Seria but as Opera Vera - a true Opera. Mozart himself called his work "Opera Seria in due atti ridotta à vera opera". The possible explanation can be found in political and social events developing during this time in Europe marked by Napoleonic war, post-revolutionary incantations and the emergence of new political alliances. Another explanation might lie in an immediate effect of the libretto, in which, according to Voltaire, not the aria, but monologue builds the reflecting resting-pole of the story. From Mazzolà revised and streamlined text, a psychologically transparent and highly individual music, plentiful of recitatives and virtuoso arias as well as employing for those times most modern instrument clarinet, gave the work an untypical for the opera seria, innovative character. In numerous ensembles, the Emperor was forced to sing together with others thus abandoning his divine status. Thus, it is no wonder that the Leopold´s wife Maria Ludovica of Spain acrimoniously called Mozart´s operaas "Una porcheria tedesca" ("a German swinishness").

Story The story revolves around love, friendship, jealousy, intrigue, betrayal and revenge and can be compared with a court crime novel. The characters’ pentagon includes Emperor Tito, the conqueror of Jerusalem, Vitellia, the daughter of the deposed Emperor Vespasian, her lover Sesto, Emperors‘ best friend, Sesto´s sister Servillia and her beloved Annius. Publio, the Captain of the Praetorian Guard and Tito protector, remains outside and serves as a bearer of good and bad news, as well as Emperor's good-natured counsellor. Sesto is tempted by seductive Vitellia to assassinate an Emperor who, due to the political reasons is forced to renounce his love for the Jewish Princess Berenice and refuses to marry her. His choice falls on Sestos´s sister Servillia, who in turn, loves Annio, Sesto's best friend. She reveals to the Emperor her love for Annio and appeals to his mercy. Tito generously grants her the freedom and, at last, sets out to take Vitellia to become his wife and Empress. Learning of Tito´s decision, Vitellia desperately attempts to stop Sesto. It is but already too late. Rome is covered with flames and Tito is declared dead. Sesto is arrested, brought into court, accused of murder and sentenced to public execution. Emperor, who refuses to believe in the betrayal of his dear friend, offers Sesto once again an opportunity to prove his innocence. Sesto, however, remains firm and declares himself as the one and only guilty. In frantic attempt to avoid the execution of Sesto Vitellia confesses to Tito her conspiracy leadership involvement. Tito displays himself relieved and gracious. He forgives the two and is frenetically celebrated by his folk as a kind and gracious ruler.

Staging The deciphering of this both highly philosophical and psychologically sophisticated plot presents a challenge for any stage director. In Ulm, it was Nilufar K. Münzing who was entrusted with its scenic realization and made her debut as opera stage director. Münzing understood the straightforwardness and complicity of the drama and presented visually clearly drawn, although from the point of personal individualization quite conventional staging. An accumulation of symbols and symbolic props, various allegorical projections, often statically acting singers, as well as a series of private emotional outbursts (noises) interrupted the action and had rather disturbing, then beneficial effect. Nevertheless, there were also some interesting episodes, such as the scene like Tito´s decree signing scene sitting at the table and surrounded by his obedient servants. The scene looked as a parody of Donald Trump's decree signing activities and involuntarily gave the scene an edgy political pointé, of which this staging could have surely bear more.

Stage and costumes The stage design by Britta Lammers impressed by large spaces, with several projection surfaces and structural clarity. Artful light effects created an atmosphere that reflected the story and inner dispositions of the characters. The costumes by Christiane Becker were well made and gave the protagonist elegance, simplicity without being overloaded or over stylized.

Ensemble The ensemble presented a well-coached team with perfectly blending voices and the one, that seemingly had a lot of fun on stage. Garrie Davislim in the leading role of Tito seemed initially bit tense and sang with a strong, compelling voice. In the course of the evening, he quickly gained confidence and inner calmness. His aria "Se all 'impero, amici Dei!" was sung excellently and marked musically as well from acting side the highlight of the evening. The soprano Tatjana Charalgina as Vitellia sang with a beautiful lyric but dramatically colored voice. This role seemed to fit her vocal and acting skills perfectly, and her Italian pronunciation is quite impressive. The final aria “Non più di fiori” presented a further musical highlight of the evening. House mezzo-soprano I Chiao Shi made her debut as a Sesto and offered a beautiful, full-sounding, if although at the top slightly broad voice. This challenging role will inevitably become the parade one for the singer, for she mastered it with ease, authentically acting posing a great stage presence. Sesto's faithful companion was sung by mezzo-soprano Christianne Bélanger who pleased with a clear, beautifully sounding voice. She also performed authentically and sang very musically. She and I Chiao Shi seemed to build a good team and had much fun together. Maria Rosendorfsky as elflike Servilia has a loveable lyric voice, which she appeared to hold back that evening, thus having some acoustic difficulties. Martin Gäbler as Publio acted and sung sovereign with a full-sounding, sonorous bass voice.

Orchestra and Choir Under the direction of First Kapellmeister Joongbae Jee, the Philharmonic Orchestra of the City of Ulm presented a well-balanced, homogenous sound with a beautifully played clarinet solo. Regrettably, Joongbae Jee´s interpretation, though singer-friendly, remained rather dull and more comfortable than exciting. The house Choir (chorus director Hendrik Haas) deserves special praise for its full-sounding and for its small size unexpectedly big sound.

Conclusion After the initial success and great popularity in the 19th century, in the 20th century "La Clemenza, the Tito" was performed much less frequently. The type of courtly-representative Opera Seria was regarded as outdated and no longer corresponded with the spirit of the time. The raised questions about the compatibility of the power and humanity and ambivalence of an absolute ruler towards punishment and mercy were not answered in the Ulm production. However, perhaps there is no right answer available? What remains is the feeling of having encountered an adult Mozart whose oeuvre would certainly be augmented by many more great works had he not died so early. No power of the world can protect a mortal, not even the emperor. The Emperor´s throne is left vacant amid ashes and destruction acting as gloomy foreboding: both, composer and king were dead within a year of the first performance.