Mozart - Mitridate, Re di Ponto (Marc Minkowski) [2006]

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Mozart - Mitridate, Re di Ponto (Marc Minkowski) [2006]

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The only revival from last year, Mozart's first opera seria, Mitridate re di Ponto, was staged in the courtyard of the Residenz, on a small stage that does not allow for complicated and large scale settings.
The production was directed by Günter Krämer with sets by Jürgen Bäckmann and costumes by Falk Bauer. Because the stage could not easily contain sets, the set designer placed a mirror over the stage, and used an upper level, amplified by the mirror, where members of the chorus and extras moved. The effect was spectacular.
During the overture and part of the first act, the fight in which Mitridate was supposed to have lost his life could be seen on the upper level. Then Mitridate walked across the upper stage, pulling a long red mantel that almost filled it, knelt down on top of the upper level and majestically started his great aria "Se di fiori il capo adorno".
The scene would have been more impressive had American tenor Richard Croft been in better voice. The singer, who performed the role of Mitridate in last year's production with excellent results, this year did not sound at ease with the score. The upper register sounded empty, and the sound somewhat artificial, and he was clearly at odds with Minkowski's beautiful but slow tempi.
Countertenor Bejun Mehta in the role of Mitridate's son Farnace was arguably the best on stage, not only technically (his ease at the top is remarkable), but also in vocal as well as theatrical interpretation. The role of Mitridate's other son, Sifare, was sung by Swedish soprano Miah Persson, who sang flawlessly, and also acted convincingly. In the mind of the stage director, the two brothers were little more than capricious children, continuously mocking each other, jealous of their father's attention and favor, an interpretation that the two singers neatly brought to the stage and that seemed very appropriate.
Netta Or as Aspasia had some problems in her first aria, but then apparently she was able to get to terms with the score. Ingela Bohlin was a temperamental Ismene, with a creamy and even voice. In comparison to last year, all principals seemed to have got more deeply into their roles, and the theatrical result was outstanding.
Les Musiciens du Louvre played under the baton of baroque specialist Marc Minkowski, who achieved a perfect balance between the stage and the pit.
Silvia Luraghi

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Mozart - Mitridate, Re di Ponto (Marc Minkowski) [2006]

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