It's always a pleasure to enjoy a Mozart opera. In the broad repertoire of the Salzburg composer there are genuine gemstones and not only from a musical point of view. This is the case of La clemenza di Tito, a singular work, of an introspective nature from the psychological point of view and with exciting musical passages.

The play features amorous dramas of fictional characters, united with each other and with a political background. Interestingly, the work was composed for the coronation of King Leopoldo II of Austria, but was premiered in the French Revolution. That is, the absolutist monarchy lived globally at a difficult time.

Well, in the opera La clemenza di Tito, contrary to the absolutist traditions and myths, we meet an emperor who shows the piety of what they have betrayed him. What seemed like a tremendous tragedy becomes a moral light with Titus’s broad vision, which believes more in the common good of his empire than in the cold, humid revenge. A subject that is absolutely applicable to our times.

Once the work and its meaning have been put in place, we have to say that the staging at the Euskalduna Palace was a real success. First of all, he highlighted the excellent scenery of Gary McCann, extraordinarily elegant, luminous and that he knew to confuse the atmosphere of ancient Rome, very stylized, semi-contemporary, semi-oneiric. It was a fusion between reality and the unreal, past and present. In any case, of great visual beauty.

Aside from the visual view, we had great soloists. The two leading women, the two Basques, made very good interpretations. Vanessa Goikoetxea, in the role of Vitellia, in addition to showing oral security and delicacy – magnificent records of medians and prints – moved onstage with great care and credibility. Itziar de Unda, in the role of Servilia, showed her warm and good work, although with a relatively small voice projection.

The two mezzosopranos who developed two male roles also performed well. Both Veta Pilipenko, on the role of Annio, and Daniela Mack, on the role of Sestao, did a good job. And as for the protagonist, Paolo Fanale, he played the role of Tito with efficiency and good phrasing. However, he had difficulties with the authorities. He saved them with dignity but without gloss. And the projection of his voice was a little bit scarce. The Euskadi Orchestra always stood out with delicacy and sound.