Mitridate review: Mozart's first full-length serious opera

4 / 5 stars
Mozart’s Mitridate, Re di Ponto

MOZART was only 14 when he wrote Mitridate, Re di Ponto.

Opera scenePH

Designer Paul Brown’s gorgeous costumes are feast for the eye

The revival of Graham Vick’s 1991 production leaves one almost incredulous at the precocious genius as one virtuoso aria follows another over the course of nearly four hours. The boy composer’s first full-length serious opera must have stunned the audience at the 1770 Milan premiere. 

Designer Paul Brown’s gorgeous costumes, modelled on those of the 18th century, are a feast for the eye, with Albina Shagimuratova’s outrageous panniered frock resembling a moving sofa. Indian Kathakali and Japanese kabuki inspire Ron Howell’s foot-stamping choreography.

The abstract sets provide a vivid background in primary colours.

The story is based loosely on the real-life soldier and despot Mithridates VI of Pontus (now part of Turkey). The opera’s tangled web of family rivalries has two sons vying for the affections of Mitridate’s fiancée Aspasia, after they mistakenly believe that their father has been killed in battle.

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It’s a lie to test their loyalty, and all hell breaks loose when the megalomaniac King returns.

Singing is of a dazzling order with tenor Michael Spyres in burnished voice as Mitridate and Shagimuratova displaying an agile coloratura as the fought-over fiancée Aspasia. Countertenor Bejun Mehta as bad son Farnace and soprano Salome Jicia as good son Sifare complement each other nicely.

Best of all is the sublime Lucy Crowe bringing a witty touch to the role of Farnace’s rejected fiancée Ismene. 

Mozart’s Mitridate, Re di Ponto Royal Opera Royal Opera House, London WC2 (Tickets: 020 7304 4000/roh.org.uk ; £6-£120)

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