There are many things to admire in this new Clemenza, but it does not push either the Hogwood or Gardiner out of their tie for first place, nor does it make me forget the Kertesz (Decca) with its fabulous women and not-so-great men. Charles Mackerras leads superbly, with the choruses and graver moments suitably serious but with an always light-Mozartian touch. The recitatives, not by Mozart anyway, are somewhat wooden, but the music never falters.
Like Bartoli (Hogwood), Magdalena Kozena takes the role of Sesto by the horns–he truly is the opera’s center. Kozena’s voice is unmatchable–warm and with a gorgeous, expressive vibrato–and she dispatches the difficult roulades of “Parto, parto” with ease and dominates the first-act finale as she should. Hillevi Martinpelto also is an excellent singer, but she can’t touch Varady or Casula (for Kertesz) for bite, jealousy, or low notes: hers are truly weak. Christine Rice is a fine Annio, sounding somewhat like Kozena and singing with dignity and feeling.
It is hard to listen to the role of Servilia without hearing Lucia Popp (Kertesz), but Lisa Milne is silvery and lovely. Rainer Trost has all the notes for Tito and is no more successful at creating a well-rounded character out of him than most of the other tenors (Schreier under Böhm is best), but his performance is nonetheless quite good. John Relyea is impressive in the trios he takes part in as Publio.
The Scottish Chamber Orchestra plays wonderfully–crisp attacks, handsome string tone, fine playing from the period brass–and the solo clarinetist and basset hornist are knockouts. In short, this is a good set, and Kozena is a dream, but there are several better choices.
