4 user 1 critic

La clemenza di Tito (1991)

Titus Vespasian, Emperor of Rome, has succeeded to the throne that his father, Vespasian, usurped from the Emperor Vitellius. Vitellia, daughter of Vitellius, urges her boyfriend Sextus to ... See full summary »


Robin Lough


Caterino Mazzolà (libretto), Pietro Metastasio (after)

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Credited cast:
Philip Langridge Philip Langridge ... Tito
Diana Montague Diana Montague ... Sesto
Elzbieta Szmytka Elzbieta Szmytka ... Servilia
Ashley Putnam Ashley Putnam ... Vitellia
Martine Mahé Martine Mahé ... Annio
Peter Rose Peter Rose ... Publio
Rest of cast listed alphabetically:
Stephen Bryant Stephen Bryant ... Himself - Orchestra leader
Andrew Davis Andrew Davis ... Himself - Conductor
Joyce Fieldsend Joyce Fieldsend ... Herself - Hearpshicord contunio
The Glyndebourne Chorus The Glyndebourne Chorus ... Chorus
London Philharmonic Orchestra London Philharmonic Orchestra ... Themselves - Orchestra


Titus Vespasian, Emperor of Rome, has succeeded to the throne that his father, Vespasian, usurped from the Emperor Vitellius. Vitellia, daughter of Vitellius, urges her boyfriend Sextus to join the conspiracy against Titus and his consort Berenice. Sextus, however, is loyal to Titus. The other players include Annius, Sextus's friend; Servilia, Sextus's sister; and Publius, captain of the guard. When Sextus sees the Capitol in flames, he runs to save Titus, but thinks himself too late when he comes upon a dying man wearing the royal purple. Sextus prepares to kill himself, but Annius tells him it is the conspirator Lentulus who is disguised in the robes. Sextus exchanges cloaks with Annius, since his own bears the badge of the conspirators. Unfortunately, this means that Annius is arrested for treason. He is willing to take the fall for Sextus, but the dying Lentulus tells the truth, Annius is freed, and Sextus is arrested. Sextus, too, maintains silence to protect Vitellia. Vitellia ... Written by Fiona Kelleghan <fkelleghan@aol.com>

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Drama | Music







Also Known As:

I megalopsyhia tou Titou See more »

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User Reviews

Underrated treasure
11 January 2012 | by TheLittleSongbirdSee all my reviews

This Clemenza Di Tito is perhaps not my first choice, the Ponnelle production with Troyanos and Neblett is for me. However, this is an underrated treasure, with my only complaints being the minimalist and sometimes unappealing sets and some awkward staging particularly the slanted stage and the saucer. The opera is wonderful, other than some parts that sound rushed it does have a concise story with some beautifully explored themes such as love, passion, despair, seduction, redemption and of course mercy and Mozart's gorgeous music.

I did love the costumes, they were well suited to when the opera was set, I was initially put off by everybody being barefoot but I learnt to live with it, and the camera work(mostly anyway, some were odd but not all), picture quality and sound are very good. Some of the numbers are shorter, but the orchestra perform beautifully with the highlight being the wind accompaniment in Parto Ma Tu Ben Mio and the conducting is brisk and never too broad and seldom rushed. The recitatives I do agree compliment the opera and serve the action well, and that is no easy feat.

Phillip Langridge was a very versatile artist, and his Tito with such refined technique, a beautiful voice and an overall moving performance is no exception. Peter Rose is very good as Pubilius, Diana Montague and Martina Mahe are superb and Elzbieta Szmytka has a tone as clear as crystal and it sounds lovely. Other than Langridge, the standout is Ashley Putnam who is amazing in perhaps the most difficult role of the entire opera in terms of range both vocally(soprano and mezzo quality, which Putnam meets) and dramatically(Vitellia is shown as passionate and ruthless yet loving and humble).

Of the production, the best performed and staged are Non Piu Di Fiori, which is a real emotional roller-coaster of a performance and I mean in a good way and the duet Ah Perdona Al Primo Affetto, which is exquisite in every way possible. All in all, an underrated treasure, both the opera and the production. 8.5/10 Bethany Cox

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