Glyndebourne’s La clemenza di Tito arrived to Proms in a semi-stage version. I’m not commenting about the stage because it won’t be fair. Maybe next year a rich boyfriend brings me to Glyndebourne to see these opera productions at their full. Let’s then focus on the musical part.

Mozart masterpiece allows many different approaches. Young conductor Robin Ticciati presented a bright version of the it: luminosity over darkness, and it worked well. It was interesting how he worked with the silences, delaying them. A lot of emphasis on the rhythm contrasts rather than on extreme dynamics. Because of the semi-staged disposition singers were in front of the conductor and they were not able to see him. Fortunately this was the final performance and they were all working like a clockwork. Sometimes even was the conductor looking behind his back to them to lead the orchestra after them. Nice flexibility detail.

The Orchestra of the Age of Enlightenment is a dream orchestra for this Mozart music which links the end of the Baroque opera with the the new classical style. Percussion and woodwind were specifically brilliant. Bravi!

The title role was sang by Richard Croft that is always a guarantee of good singing. As I said, I am not commenting the hysterical movements he was forced to do on this production.

I really love Alice Coote. I have forgiven her in the past some overacting and excessive drama because her singing was so good. But here as Vitellia we got only the good stuff. Exquisite singing with a voice that filled the Royal Albert Hall. Now I love her much more. Really.

A friend of mine told me that I should go to this production just to listen to Anna Stéphany as Sextus because she was the sensation of this year. I totally agree. We have a new star here. Her Parto, parto was amazing and on the second act she started a duel with Coote to see who could sing with more beauty. And we all enjoyed it.

Joélle Harvey as Servilia and Michèle Losier as Annius completed the amazing cast of this opera.