|The Emperor debates clemency: Filianoti as Tito (Photo (c) Ken Howard/Met Opera)|
Harry Bicket (who'll be back at the Met for Giulio Cesare in the spring) led the orchestra in an energetic and nuanced account of the score, with generally fleet tempi, exhibiting lightness and solemnity where respectively called for. Bicket kept his forces moving briskly, and the action flowed smoothly as a result. From where I sat, the orchestra occasionally seemed to overbalance the singers, but I was just a few rows behind the pit. The cast was uniformly strong; Oren Gradus was perhaps not particularly distinguished as Publio but he was in distractingly good company. Lucy Crowe a made sweet-toned and sympathetic Servillia, and one with backbone, which was nice to see; "S'altro che lacrime" was convincingly and skilfully sung. The role of Annio showed Kate Lindsey at her best; an audience favorite, Lindsey was winsomely earnest and displayed assured singing, both individually and in ensembles. "Tu fosti tradito" was moving in its expression of affection and desperation, with impressive piano singing.
|Frittoli as Vitellia (Photo (c) Ken Howard/Met Opera)|