Using the traditional structures of Neapolitan opera as a basis, in Lucio Silla Mozart gave life to a style that was very advancedin both forms and contents: the choruses, the great number accompanied recitatives, the arias that were not necessarily scoredwith the ”da capo” structure represent the opera’s main novelties alongside wholly unusual, bold harmonic and melodic features.The use of various forms of solo aria - and the consequent abandonment of the single ”da capo” model - confirms thecomposer’s wish to find the structures best suited to the expression of various different emotional states. Alongside the charactersof Neapolitan theatre, accentuated compared to the models, we thus find traces of an impassioned spirit, seeking toreach beyond conventional patterns. This comes about not only through decidedly massive use of the orchestra, which accompaniesand illustrates the action with a very marked poetic sense and does not limit itself to redoubling the song, but indeedinserts new melodies and denotes independent treatment of the single timbres, but also through a wholly personal representationof emotions overstepping the situations offered by the libretto as it aims for almost an passionate tragic nature. With thishis third ”dramma per musica” Mozart successfully concludes his activity in Italian theatres; he does not achieve any concreteopenings for his profession, but does draw artistic profit from the experiments he carries out here, which will be exploited inlater titles in his catalogue.
Lucio Silla- Roberto Saccà Giunia - Annick Massis Cecilio - Monica Bacelli Lucio Cinna - Veronica Cangemi, Celia - Julia Kleiter, Aufidio - Stefano Ferrari
Orchestra and Chorus of Teatro La Fenice di Venezia Conductor: Tomás Netopil