Gradually getting through the Mozart 22 set, I found the Mitridate Re Di Ponto one of the standouts. The opera I am not as familiar with as with other Mozart operas like Don Giovanni for example, but with the poignant arias one of Mozart's better Opera Serias. The sets are fairly simple, but with the white wall with a lot of invisible-looking doors, prison cells, over-head mirror, backstage ramp and the platform do very well with representing all the different stages of the opera. The costumes are also effective, beautifully designed and nobody really looking unflattered. The orchestra expertly brings the emotional and psychological intensity of the opera, and Marc Minkowski's conducting is very exciting and suitably buoyant. The staging is moving and focuses on the singers' strengths rather than wasting them.
As for the performances, very little if anything to criticise in this area. Richard Croft's Mitridate is hugely compelling with a powerful presence and doing very well in making the character even more nasty. As ever he makes his virtuosic music seem easy, and I have to say I really felt the pathos of Figlio, Amico, Non Più. As Aspasia, Netta Or copes wonderfully with both the lyric and dramatic elements of the role, and her colouratura shows remarkable control. Miah Persson's lyrical singing is more than ideal in the role of Sifare, particularly in Lungi Da Te, Mio Bene, and her interpretation in the prison scene is very impassioned and moving. Ingela Bohlin's role as Ismene is minor but just as important, and with Bohlin you do feel the character's sense of bitterness. Bejun Mehta's Farnace is a sheer delight, beautiful rich singing along with charisma and great sense of drama. Of the individual arias it was his Già Dagli Occhi Il Velo è Tolto that was the most moving.
In conclusion, a really wonderful production and one of the best of the Mozart 22 series. 10/10 Bethany Cox
As for the performances, very little if anything to criticise in this area. Richard Croft's Mitridate is hugely compelling with a powerful presence and doing very well in making the character even more nasty. As ever he makes his virtuosic music seem easy, and I have to say I really felt the pathos of Figlio, Amico, Non Più. As Aspasia, Netta Or copes wonderfully with both the lyric and dramatic elements of the role, and her colouratura shows remarkable control. Miah Persson's lyrical singing is more than ideal in the role of Sifare, particularly in Lungi Da Te, Mio Bene, and her interpretation in the prison scene is very impassioned and moving. Ingela Bohlin's role as Ismene is minor but just as important, and with Bohlin you do feel the character's sense of bitterness. Bejun Mehta's Farnace is a sheer delight, beautiful rich singing along with charisma and great sense of drama. Of the individual arias it was his Già Dagli Occhi Il Velo è Tolto that was the most moving.
In conclusion, a really wonderful production and one of the best of the Mozart 22 series. 10/10 Bethany Cox
