At the age of 14, Wolfgang Amadeus Mozart was already a celebrated name in European music. During a trip to Italy with his father in 1770, he received his first commission for an opera seria from Milan’s Teatro Regio Ducale. La Scala revives this early masterpiece, Mitridate, re di Ponto, in a concert performance, offering a glimpse into the genius of the adolescent Mozart.
Vittorio Amedeo Cigna-Santi's libretto follows the classic Metastasian style, dramatising a fictionalised account of Mithridates VI of Pontus (modern-day Turkey) and his wars against the Roman Empire. The story blends political intrigue and forbidden love: Mitridate, seeking alliances, plans to marry the Greek noblewoman Aspasia while arranging his son Farnace’s union with Parthian princess Ismene. But Aspasia loves Mitridate’s younger son, Sifare, a passion he returns. Farnace tries to seize his father’s throne and force Aspasia into marriage. Mitridate returns, furious at his sons’ betrayal, yet torn between vengeance and love. Defeated by Pompey, he poisons himself, but not before reconciling with his sons. The opera ends with a defiant chorus resisting Roman tyranny.
Despite his youth, Mozart skilfully met the demands of an experienced and exacting cast, composing a florid showcase of dazzling coloratura that grants each singer multiple moments to shine. La Scala’s cast proved themselves worthy successors, tackling the work’s formidable technical challenges with effortless precision. The original cast featured three castrati in the roles of Farnace, Sifare, and Arbate, here all taken by women, an unusual yet refreshing choice.
Olga Bezsmertna took on the role of Sifare. Her voice is remarkable for its radiant high notes, while the core remains firmly grounded in the middle register, with a richness and power more typical of a mezzo. Her performance was deeply moving, infused with raw emotion. One of her standout moments was the aria “Se il rigor d’ingrata sorte,” in which Sifare contemplates suicide, an Allegro agitato in a minor key, its urgency mirroring the character’s existential turmoil.
Jessica Pratt dazzled as Aspasia, her soprano sweeping through the theatre like a silvery wave of coloratura in her “Al destin che la minaccia.” High notes rang out with the brilliance of polished steel, crisp and commanding, culminating in a triumphant high E that left the audience roaring. Her duet with Bezsmertna was a masterclass in dramatic intensity, two distinct voices uniting in perfect harmony, navigating the intricate coloratura with breathtaking precision as the lovers bid their final farewell.
Farnace was portrayed by Rose Naggar-Tremblay, a young mezzo with a strikingly rich and distinctive timbre, almost masculine in its depth. Her superb technique and magnetic stage presence made her the ideal choice for the opera’s most complex role, the only character who undergoes meaningful development. Maria Kokareva brought Ismene to life with her golden, well-projected soprano, delivering a performance of undeniable style.
In the title role, we were treated to Levy Sekgapane, an established bel canto tenor whose voice sounded powerful and resonant , a true delight for opera lovers witnessing an artist’s growth. His high notes were thrilling – bold and crystalline – while his portrayal remained deeply authentic. His death scene was particularly moving, his voice dissolving into a heartrending sob that left the audience spellbound.
The cast was rounded out by the golden mezzo of Nina van Essen as Arbate and Alasdair Kent as Marzio, a light tenor with a slightly nasal timbre but remarkable coloratura agility.
Les Talens Lyriques, conducted by founder Christophe Rousset, delivered a masterfully nuanced performance, balancing the score’s dramatic intensity and melancholic lyricism with impeccable precision. Jeroen Billet's horn obbligato in “Lungi da te mio bene” treated us to a spectacular performance, his duet with Bezsmertna mesmerising.
