So I’m sitting on the couch watching “Parks and Recreation” when The Wife comes to me and she says,
“Guess where we’re going?”
“Oh, thank God. I thought you were going to say a Cardinals baseball game.”
“See. There are fates worse than opera.”
And so it was that we made yet another trek to the Loretto-Hilton Center on the campus of Webster University for the Opera Theatre of Saint Louis production of “Titus La clemenza di Tito,” the final opera written by Wolfgang Amadeus Mozart. I am familiar with the works of Mozart (I’m not totally culturally illiterate — I have seen “Amadeus.”) so I figured this would be decent. Even if I’d never heard of it.
The story is a complex one, evidenced by the six-paragraph synopsis in the program. Do you know why they provide you with the entire plot of the show before you watch an opera or Shakespeare play? It’s because you would never understand otherwise. I have learned that the key to understanding opera and Shakespeare is to commit the synopsis to memory as best you can, and then let the show just wash over you. Reread the synopsis during intermission. Maybe you’ll understand it, maybe you won’t – but at least you’ll be able to follow along. Somewhat.
“Titus” takes place in ancient Rome. Vitellla (Laura Wilde) is the daughter of the deposed emperor. She hopes to maintain her status by marrying the new emperor — the too-nice-to-truly-be-an-emperor Tito (Rene Barbera). Tito wants to marry someone else so Vitella figures the only logical thing to do is have him killed.
To do the dirty deed, she enlists the aid of her lover Sesto (Cecelia Hall), who is also best friend to Tito. The plot fails, Sesto is imprisoned, and Vitella has to decide if she should reveal her role in the incident and possibly save her cohort from a fate equal to death.
There’s more to it but you get the gist. “Titus” is one of Mozart’s lesser works but still entertaining. The music is lovely and the musicians are very good. The songs (do they call them songs in opera? Liberettos, then. Or whatever) were challenging but the cast was up to the challenge.
The costumes were lavish. The set design was sparse, in large part because they blew the whole budget on a giant Eagle statue. It hung over the stage, fell to earth at the appropriate time, then rose like a phoenix when required. It was pretty cool.
Remaining performances for “Titus” run June 18, 22 and 24. https://www.opera-stl.org/