How iconoclast do you like your Mozart? In their Clemenza di Tito, premièred last summer in Salzburg and now showing at Dutch National Opera, conductor Teodor Currentzis and director Peter Sellars set the bar high. Mozart’s last opera is often criticized for being a throwback to an outdated conventional style. It was composed in a rush, for the most official of occasions, Emperor Leopold II’s accession to the throne of Bohemia. In a controversial move, the pair remodelled Clemenza as they think it could have been, hadn’t it been hamstrung by Imperial étiquette and lack of time. The final result is certainly new, sometimes extremely beautiful, sometimes no less than infuriating.
These enfants terribles start by getting rid of most of the recitatives, under the pretext that, pressed for time, Mozart entrusted them to his pupil Süssmayr. What is left of them is very freely translated for the subtitling to fit the modernized plot imagined by Sellars: “traditor” (traitor) becomes “terrorist”. The storyline focuses on contemporary issues: class and racial divide, the refugee crisis, terrorism. Those themes have been overused on the opera stage (only a couple of months ago, the Opera Forward Festival featured a production of Clemency with suicide bombers and a refugee-themed Das Floss der Medusa) but it is undeniable that some of the scenes in this staging are extremely poignant. The crowd waking in the streets, standing before masses of candles and portraits laid on the pavement to protest the rampage of terrorism, is an image unfortunately too close to home not to be stirring.
One would expect Emperor Tito pardoning his attackers to be a clear political statement against the War on Terror. However, this message gets blurred as Mozart’s original happy end is replaced by (spoiler alert!) the death of Titus, who succumbs to his injuries. I cannot say I care for the substitution of the original message of hope by this utterly pessimistic, darker ending.
The emperor’s death is the occasion for Currentzis to insert into the score music from another work by Mozart (the Masonic Funeral Music in C minor), something he does throughout the performance. The crowd cheers the Emperor with the Benedictus from the Mass in C minor, or mourns his attempted murder with its Kyrie. The terrorists prepare their attack and walk the street with their loaded backpacks to the Adagio and Fugue in C minor. Dramatically, most of these insertions – cherry-picked to fit the mood of the action – do not feel intrusive. Musically, they are a treat.