View source for La clemenza di Tito

{{short description|1791 opera by W. A. Mozart}}
{{For|other settings of the libretto by Metastasio|La clemenza di Tito (disambiguation)}}
{{use dmy dates|date=October 2024}}
{{Infobox opera
| name = {{lang|it|La clemenza di Tito}}
| genre = [[Opera]]
| composer = [[Wolfgang Amadeus Mozart|W. A. Mozart]]
| image = Mozart drawing Doris Stock 1789.jpg
| caption = The composer, drawing by [[Doris Stock]], 1789
| translated_name = ''The Clemency of Titus''
| librettist = [[Caterino Mazzolà]]
| based_on = libretto by [[Pietro Metastasio]]
| language = Italian
| premiere_date = {{Start date|1791|09|06|df=y}}
| premiere_location = [[Estates Theatre]] in [[Prague]]
}}
'''{{lang|it|La clemenza di Tito}}''' (''The Clemency of Titus''), [[Köchel catalogue|K.]] 621, is an ''[[opera seria]]'' in two acts composed by [[Wolfgang Amadeus Mozart]] to an Italian [[libretto]] by [[Caterino Mazzolà]], after [[Pietro Metastasio]]. Mozart completed the work in the midst of composing ''[[Die Zauberflöte]]'', his last opera. ''La clemenza di Tito'' premiered on 6 September 1791 at the [[Estates Theatre]] in Prague.

== Background ==
[[File:Wolfgang Amadeus Mozart - La clemenza di Tito - title page of the libretto - Prague 1791.png|thumb|Libretto title page with dedication (1791)]]
In 1791, the last year of his life, Mozart was already well advanced in writing ''{{lang|de|Die Zauberflöte}}'' by July when he was asked to compose an ''[[opera seria]]''. The commission came from the impresario [[Domenico Guardasoni]], who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the [[coronation]] of [[Leopold II, Holy Roman Emperor]], as King of [[Bohemia]]. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother [[Joseph II, Holy Roman Emperor|Joseph II]] to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the [[French Revolution]]. The ceremony was to take place on 6 September; Guardasoni had been approached about the opera in June. No opera of Mozart was more clearly pressed into the service of a political agenda than ''La clemenza di Tito'', in this case to promote the reactionary political and social policies of an aristocratic elite. No evidence exists to evaluate Mozart's attitude toward this, or even whether he was aware of the internal political conflicts raging in the kingdom of Bohemia in 1791.<ref>The political and social conditions surrounding the performance of ''La clemenza di Tito'' in Prague in 1791 are carefully documented in {{harvnb|Freeman|2013|pp=148–177}}</ref>

In a contract dated 8 July, Guardasoni promised that he would engage a [[castrato]] "of leading quality" (this seems to have mattered more than who wrote the opera); that he would "have the libretto caused to be written...and to be set to music by a distinguished maestro". The time was tight and Guardasoni had a get-out clause: if he failed to secure a new text, he would resort to ''La clemenza di Tito'', a [[libretto]] written more than half a century earlier by Pietro Metastasio (1698–1782).

Metastasio's libretto had already been set by nearly 40 composers; the story is based on the life of Roman Emperor [[Titus]], from some brief hints in [[The Twelve Caesars|''The Lives of the Caesars'']] by the Roman writer [[Suetonius]], and was elaborated by Metastasio in 1734 for the Italian composer [[Antonio Caldara]]. Among later settings were [[Christoph Willibald Gluck|Gluck]]'s in 1752 and [[Josef Mysliveček]]'s [[La clemenza di Tito (Mysliveček)|version]] in 1774. Mozart was definitely familiar with the libretto before composition; in 1770, he saw a production with his father of {{ill|Michelangelo Valentini|it}}'s setting in [[Cremona]].{{sfn|Sadie|2006|pp=186–187}} There would be three further settings after 1791. Mozart was not Guardasoni's first choice. Instead, he approached [[Antonio Salieri]], the most distinguished composer of Italian opera in Vienna and head of the music establishment at the imperial court. But Salieri was too busy, and he declined the commission, although he did attend the coronation.

The libretto was edited into a more useful state by the court poet Caterino Mazzolà. Unusually, in Mozart's personal catalogue of compositions, Mazzolà is credited for his revision with the note that the libretto had been "reworked into a true opera". Mazzolà conflated the original three act libretto into two acts, and none of the original Metastasio arias are from the original middle act. Mazzolà replaced a lot of the dialogue with ensembles and wrote a new act one finale, cobbled from lines in the original libretto, which presents the uprising, whereas Metastasio merely describes it.

Guardasoni's experience of Mozart's work on ''[[Don Giovanni]]'' convinced him that the younger composer was more than capable of working on the tightest deadline. Mozart readily accepted the commission given his fee would be twice the price of a similar opera commissioned in Vienna. Mozart's earliest biographer Niemetschek alleged that the opera was completed in just 18 days, and in such haste that the [[Recitative#Secco|''secco'' recitatives]] were supplied by another composer, probably [[Franz Xaver Süssmayr]], believed to have been Mozart's pupil. Although no other documentation exists to confirm Süssmayr's participation, none of the secco recitatives are in Mozart's autograph, and it is known that Süssmayr traveled with Mozart to Prague a week before the premiere to help with rehearsals, proofreading, and copying. It has been suggested by scholars of Mozart that he had been working on the opera much longer, perhaps since 1789; however, all such theories have now been thoroughly refuted in the English-language musicological literature.<ref>See {{harvnb|Freeman|2013|loc=notes on pp. 300–301}}, for an evaluation of the relevant literature.</ref> The opera may not have been written in just 18 days, but it certainly ranks with Rossini's ''[[L'italiana in Algeri]]'', ''[[Il barbiere di Siviglia]]'' and ''[[La Cenerentola]]'' as one of the operas written in the shortest amount of time that is still frequently performed today.

It is not known what Leopold thought of the opera written in his honor. Reports that his wife [[Maria Luisa of Spain]] dismissed it as ''{{lang|it|una porcheria tedesca}}'' (literally in Italian "German swinishness", but most idiomatically translated "A German mess") do not pre-date 1871, in a collection of literary vignettes by [[Alfred Meissner]] about the history of Prague purportedly based on recollections of the author's grandfather, who was present for the coronation ceremonies.<ref>[[Alfred Meissner|Meissner, A.]] ''Rococo-Bilder'' Prague, 1871. The passage from Meissner's collection of stories that contains the remark is translated in {{harvnb|Freeman|2013|pp=173–174}}. As further evidence to cast doubt on the authenticity of the remark, [[Daniel E. Freeman|Freeman]] points out that members of the imperial court of Austria always spoke to each other in French, not Italian or German.</ref>

== Performance history ==
[[File:Stavovské divadlo vstup 3.jpg|thumb|The [[Estates Theatre]] in [[Prague]], the venue of the world premiere of the opera in 1791]]
It has been commonly asserted that Mozart himself was the conductor, although [[H. C. Robbins Landon]] says that is "most unlikely".<ref>[[H. C. Robbins Landon]], ''Mozart's Last Year'', 1998, "IX. Coronation diary", p. 108</ref> The role of Sesto was taken by the castrato soprano Domenico Bedini. The opera was first performed publicly on 6 September 1791 at the [[Estates Theatre]] in Prague. While the orchestra was that of the theatre, the clarinet player [[Anton Stadler]] had journeyed to Prague with Mozart and played in the orchestra. It was for him that Mozart wrote two very prominent obbligati: for [[basset clarinet]] in Sesto's aria "Parto, parto, ma tu ben mio", and for [[basset horn]] in Vitellia's aria "Non più di fiori".

Excerpts from the opera were performed on 28 February 1796 at the [[Berlin Royal Opera]], with [[Margarete Luise Schick]], Henriette Righini, {{ill|Auguste Amalie Schmalz|de}}, {{ill|August Fischer (bass)|de|August Fischer (Sänger)|lt=August Fischer}}, {{ill|Friedrich Franz Hurka|de}}, and [[Constanze Mozart]] performing.<ref>{{cite book|last=Deutsch|first=Otto Erich|author-link=Otto Erich Deutsch|title=Mozart: A Documentary Biography|year=1966|pages=478–479|publisher=Stanford University Press|isbn=9780804702331|postscript=none}}; [[:File:AUT — SL — Salzburg (Stadt) — Getreidegasse 9 (Mozartmuseum — 1735 opera libretti La clemenza di Tito)) Mattes 2021.jpg|Playbill]], [[Berlin Royal Opera]] 28 February 1796, via [[Wikimedia Commons]][[File:Commons-logo-en.svg|14px|link=]]</ref>

The opera remained popular for many years after Mozart's death.<ref>Stivender, D. ed. and trans., ''La clemenza di Tito'' (libretto), in ''The Metropolitan Opera Book of Mozart Operas,'' New York: HarperCollins, 1991, p. 502</ref> It was the first full Mozart opera to reach London, receiving its première there at [[His Majesty's Theatre, London|His Majesty's Theatre]] on 27 March 1806. The cast included [[John Braham (tenor)|John Braham]], whose long-time companion [[Nancy Storace]] had been the first Susanna in ''[[The Marriage of Figaro]]'' in Vienna. However, as it was only played once, it does not appear to have attracted much interest. As far as can be gathered, it was not staged in London again until at the St Pancras Festival in 1957.<ref>{{Almanacco|dmy=27-03-1806|match=La clemenza di Tito}}</ref> The first performance at [[La Scala]] in Milan was on 26 December 1818.<ref>{{Almanacco|dmy=26-12-1818|match=La clemenza di Tito}}</ref> The North American premiere was staged on 4 August 1952 at the [[Tanglewood Music Center|Berkshire Music Center]] in Tanglewood.<ref>{{Almanacco|dmy=04-08-1952|match=La clemenza di Tito}}</ref> For a long time, Mozart scholars regarded ''Tito'' as an inferior effort of the composer. [[Alfred Einstein]] in 1945 wrote that it was "customary to speak disparagingly of ''La clemenza di Tito'' and to dismiss it as the product of haste and fatigue", and he continues the disparagement to some extent by condemning the characters as puppets – e.g., "Tito is nothing but a mere puppet representing [[magnanimity]]" – and claiming that the ''opera seria'' was already a moribund form.<ref>[[Alfred Einstein|Einstein, A.]] ''Mozart: His Character, His Work,'' New York: Oxford University Press, 1945, pp. 408–411</ref> However, in recent years the opera has undergone something of a reappraisal. [[Stanley Sadie]] considered it to show Mozart "responding with music of restraint, nobility and warmth to a new kind of stimulus".<ref>[[Stanley Sadie|Sadie, S.]] ''The New Grove Mozart'', New York: Norton, 1983, p. 164. {{harvnb|Freeman|2013|pp=227–237}}, offers a mixed appraisal of its musical and dramatic worth.</ref> The opera retains a reasonably high profile, and is in the lower reaches of the 'Top 50' performed at major houses worldwide.{{citation needed|date=October 2020}}

At the [[Salzburg Festival]] 2017, [[Peter Sellars]] directed his interpretation of the opera<ref>[http://www.salzburgerfestspiele.at/opera/la-clemenza-di-tito-2017 "Wolfgang Amadeus Mozart – ''La clemenza di Tito''"], Programme detail, [[Salzburg Festival]]</ref> as "a vision of peaceful coexistence", "reaching far beyond the historical context".<ref>[http://www.salzburgerfestspiele.at/en/blog/entryid/741 "In Praise of Reconciliation"], [[Salzburg Festival]] blog, 20 January 2017</ref> It was a coproduction with the [[Dutch National Opera]], Amsterdam, and the [[Deutsche Oper Berlin]]. Conducted by [[Teodor Currentzis]], it premiered on 27 July 2017 at the [[Felsenreitschule]] in Salzburg.

The opera was also performed as part of [[Glyndebourne Festival Opera|Glyndebourne]]'s 2017 summer festival.<ref>"[http://www.glyndebourne.com/tickets-and-whats-on/events/2017/la-clemenza-di-tito/ What's On 2017]", Glyndebourne website</ref> In 2019 the [[Los Angeles Opera]] put on the work for the first time in its history in an all new production, conducted by [[James Conlon]] and starring [[Russell Thomas]] in the title role and Elizabeth DeShong as Sesto.<ref>{{cite news|url=https://www.latimes.com/entertainment/arts/la-et-cm-clemency-titus-review-20190303-story.html|title=Review: It took 228 years, but L.A. Opera's ''Clemency of Titus'' proves worth the wait|last=Ginell|first=Richard S.|date=3 March 2019|newspaper=[[Los Angeles Times]]|access-date=5 March 2019}}</ref> In the same year the opera was performed at the [[Metropolitan Opera]] in New York City and broadcast on 20 April 2019.

== Roles ==
{| class="wikitable"
|+{{sronly|Roles, voice types, premier cast}}
!Role
![[Voice type]]<ref>According to {{harvnb|Rushton|1997}} and {{harvnb|Mellace|2007}}.</ref>
!Premiere cast 6 September 1791<ref>{{Almanacco|dmy=06-09-1791|match=La clemenza di Tito}}</ref>
|-
| [[Titus|Tito Vespasian]], ''[[Roman Empire|Roman]] Emperor''
|[[tenor]]
|Antonio Baglioni
|-
| [[Vitellia (daughter of emperor Vitellius)|Vitellia]], ''daughter of the deposed Emperor [[Vitellius|Vitellio]]''
|[[soprano]]
|Maria Marchetti-Fantozzi
|-
|Sesto, ''a young [[Patrician (ancient Rome)|patrician]], friend of Tito, in love with Vitellia''
|soprano [[castrato]]; in modern performance<br />[[mezzo-soprano]] or [[countertenor]]
|Domenico Bedini
|-
| Annio, ''a young patrician, friend of Sesto, in love with Servilia''
|soprano ([[en travesti]]) is listed in the score,<br />but usually sung by mezzo-soprano
|Carolina Perini
|-
| Servilia, ''sister of Sesto, in love with Annio''
|soprano
|Antonina Campi, née Mikłaszewicz<br />(also called Signora Antonini)<ref>{{ill|Walther Brauneis|de|lt=Brauneis, Walther}}, "Wer war Mozarts 'Sig[no]ra Antonini' in der Prager Uraufführung von 'La Clemenza di Tito' KV 621? Zur Identifizierung der Antonina Miklaszewicz als Interpretin der Servilia in der Krönungsoper am 6. September 1791", in [[Rudolph Angermüller|Angermüller, Rudolph]] and Fornari, Giacomo (editors), ''Mozart: le arie da concerto, Mozart e la musica massonica dei suoi tempi / Die Konzertarien, Mozart und die Freimaurermusik seiner Zeit''. Atti del convegno internazionale di studi, Rovereto, 26–27 settembre 1998 / Bericht des internationalen Kongresses, Rovereto, 26.–27. September 1998, Bad Honnef: Bock, 2001, pp. 69–79. {{ISBN|978-3-87066-825-9}}.</ref>
|-
| Publio, ''[[Praetorian prefect]], commander of the [[Praetorian Guard]]''
|[[bass (voice type)|bass]]
|Gaetano Campi
|}

== Instrumentation ==
The [[opera]] is scored for 2 [[Western concert flute|flutes]], 2 [[oboe]]s, 2 [[clarinet]]s (1 also [[basset clarinet]] and [[basset horn]]), 2 [[bassoon]]s, 2 [[natural horn|horn]]s, 2 [[trumpet]]s, [[timpani]] and [[string section|strings]]. [[Basso continuo]] in ''[[recitative|recitativi secchi]]'' is made up of [[Harpsichord|cembalo]] and [[cello|violoncello]].

== Synopsis ==
:Place and time: [[Ancient Rome#Flavian dynasty|Ancient Rome]], in the year 79.

=== Act 1 ===
Vitellia, daughter of the late emperor [[Vitellius]] (who had been deposed by Tito's father [[Vespasian]]), wants revenge against Tito. She stirs up Tito's vacillating friend Sesto, who is in love with her, to act against him (duet "Come ti piace, imponi"). But when she hears word that Tito has sent [[Berenice of Cilicia]], of whom she was jealous, back to Jerusalem, Vitellia tells Sesto to delay carrying out her wishes, hoping Tito will choose her (Vitellia) as his empress (aria "Deh, se piacer mi vuoi").

Tito, however, decides to choose Sesto's sister Servilia to be his empress, and orders Annio (Sesto's friend) to bear the message to Servilia (aria "Del più sublime soglio"). Since Annio and Servilia, unbeknownst to Tito, are in love, this news is very unwelcome to both (duet "Ah, perdona al primo affetto"). Servilia decides to tell Tito the truth but also says that if Tito still insists on marrying her, she will obey. Tito thanks the gods for Servilia's truthfulness, and immediately forswears the idea of coming between her and Annio (aria "Ah, se fosse intorno al trono").

In the meantime, however, Vitellia has heard the news about Tito's interest in Servilia and is again boiling with jealousy. She urges Sesto to assassinate Tito. He agrees, singing one of the opera's most famous arias ("Parto, parto, ma tu, ben mio" with [[basset clarinet]] [[obbligato]]). Almost as soon as he leaves, Annio and the guard Publio arrive to escort Vitellia to Tito, who has now chosen her as his empress. She is filled with feelings of guilt and worry over what she has sent Sesto to do.

Sesto, meanwhile, is at the [[Capitoline Hill|Capitol]] wrestling with his conscience (recitativo "Oh Dei, che smania è questa"), as he and his accomplices set about burning it down. The other characters (except Tito) enter severally and react with horror to the burning Capitol. Sesto reenters and announces that he saw Tito slain, but Vitellia stops him from incriminating himself as the assassin. The others lament Tito in a slow, mournful conclusion to act one.

=== Act 2 ===
The act begins with Annio telling Sesto that Emperor Tito is in fact alive and has just been seen; in the smoke and chaos, Sesto had mistaken someone else for Tito. Sesto wants to leave Rome, but Annio persuades him not to (aria "Torna di Tito a lato"). Soon Publio arrives to arrest Sesto, bearing the news that it was one of Sesto's co-conspirators who dressed himself in Tito's robes and was stabbed, though not mortally, by Sesto. [[Roman Senate|The Senate]] tries Sesto as Tito waits impatiently, sure that his friend will be exonerated; Publio expresses his doubts (aria "Tardi s'avvede d'un tradimento") and leaves for the Senate. Annio begs Tito to show clemency towards his friend (aria "Tu fosti tradito"). Publio returns and announces that Sesto has been found guilty and that his death sentence only awaits Tito's signature.

Attempting to obtain further details about the plot, the anguished Tito decides to send for Sesto first. Sesto takes all the guilt on himself and says he deserves death ([[rondo]] "Deh, per questo istante solo"), so Tito tells him he shall have it and sends him away. But after an extended inner struggle, Tito tears up the execution warrant for Sesto. He determines that, if the world will accuse him (Tito) of anything, it should charge him with showing too much mercy, rather than with having a vengeful heart (aria "Se all'impero").

Vitellia at this time is wracked with guilt, but Servilia warns her that tears alone will not save Sesto (aria "S'altro che lagrime"). Vitellia finally decides to confess all to Tito, giving up her hopes of empire (rondo "Non più di fiori" with [[basset horn]] obbligato). In the [[amphitheatre]], the condemned (including Sesto) are waiting to be thrown to the wild beasts. Tito is about to show mercy, when Vitellia offers her confession as the instigator of Sesto's plot. Although shocked, the emperor includes her in the general clemency he offers (recitativo accompagnato "Ma che giorno è mai questo?"). The opera concludes with all the subjects praising the extreme generosity of Tito; he then asks that the gods cut short his days, should he ever cease to care for the good of Rome.

== Recordings ==
Many recordings have been made, including the following:
{| class="wikitable"
!Year
!Cast: Tito, Vitellia,<br />Sesto, Annio,<br />Servilia, Publio
!Conductor<br />orchestra, chorus
!Label<ref>{{cite web
| url = http://www.operadis-opera-discography.org.uk/CLMOCLEM.HTM
| title = ''La clemenza di Tito'' discography
| publisher = www.operadis-opera-discography.org.uk
| access-date = 19 September 2010
}}</ref><br />Catalogue number
|-
|1956<br />''(in English)''||[[Richard Lewis (tenor)|Richard Lewis]],<br />[[Joan Sutherland]]<br />[[Monica Sinclair]]<br />[[Anna Pollak]]<br />[[Jennifer Vyvyan]]<br />[[Thomas Hemsley]] || [[John Pritchard (conductor)|John Pritchard]]<br />[[London Mozart Players]], [[BBC Chorus]] || CD: [[Nimbus Records|Nimbus]]<br />Cat: NI7967<br />
|-
|1967||[[Werner Krenn]],<br />{{ill|Maria Casula|it}},<br />[[Teresa Berganza]],<br />[[Brigitte Fassbaender]],<br />[[Lucia Popp]],<br />[[Tugomir Franc]] || [[István Kertész (conductor)|István Kertész]]<br />[[Vienna State Opera]] Orchestra and Chorus; produced by [[Erik Smith]] ||CD: [[Decca Records|Decca]]<br />Cat: 000289 475 7030 1<ref>{{cite web
| url = http://www.musicweb-international.com/classrev/2006/Mar06/Mozart_Tito_4757030.htm
| title = Review – Mozart – ''La clemenza di Tito'' – Kertesz
| date = March 2006
| publisher = MusicWeb International|author=Robert J. Farr
| access-date = 19 September 2010
}}</ref><ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/February%201968/75/787212/MOZART.+La+clernenza+di+Tito%E2%80%94+complete.
| title = Review – Mozart – ''La clemenza di Tito'' – Kertesz
| date = February 1968
| work = [[Gramophone (magazine)|Gramophone]]
| access-date = 19 September 2010
}}</ref>
|-
|1976||[[Stuart Burrows]],<br />[[Janet Baker]],<br />[[Yvonne Minton]],<br />[[Frederica von Stade]], <br />[[Lucia Popp]],<br />[[Robert Lloyd (bass)|Robert Lloyd]]|| [[Colin Davis]]<br />Orchestra and Chorus of the [[Royal Opera House]], Covent Garden||CD: [[Philips Classics Records|Philips Classics]]<br />Cat: 000289 422 5442 8<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/November%201977/122/835915/MOZART.+La+clemenza+di+Tito%2C+K621.#header-logo
| title = Review – Mozart – ''La clemenza di Tito'' – Davis
| date = November 1977
| work = Gramophone
| access-date = 19 September 2010
}}</ref><br>For details, see [[La clemenza di Tito (Colin Davis recording)|here]]
|-
|1978||[[Peter Schreier]],<br />[[Júlia Várady]],<br />[[Teresa Berganza]],<br />[[Marga Schiml]],<br />[[Edith Mathis]],<br />[[Theo Adam]]||[[Karl Böhm]]<br />[[Staatskapelle Dresden]], Leipzig Radio Chorus||CD: [[Deutsche Grammophon]]<br />Cat: 000289 429 8782 1<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/September%201979/111/776503/MOZART.+La+clemenza+dl+Tito%2C+K621.
| title = Review – Mozart – ''La clemenza di Tito'' – Böhm
| date = September 1979
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|1988||[[Gösta Winbergh]],<br />[[Carol Vaness]],<br />[[Delores Ziegler]],<br />Martha Senn,<br />Christine Barbaux, <br />[[László Polgár (bass)|László Polgár]]||[[Riccardo Muti]]<br />[[Vienna Philharmonic]] Orchestra, Chorus of the [[Vienna State Opera]]||CD: [[EMI]]<br />Cat: CDS 5 55489-2<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/October%201995/136/806503/themselves+are+given+with+considerable+gusto+and+feeling+for+atmosphere.+The+Psalmus+Hungaricus+%28arguably+Kod%C3%A1lys+masterpiece%29+receives+a+bright+and+forceful+performance+under+Kert%C3%A9sz%2C+dramatically+sung+by+tenor+Lajos+Kozma+with+the+Brighton+Festival+Chorus+and+Wandsworth+Boys+Choir++even+though+Ferenc+Fricsays+recently+reissued+1960+Berlin+broadcast+performance+with+Ernst+Haefliger+%28sung+in+German%2C+unfortunately%29+generates+a+significant+extra+quota+of+intensity.+Still%2C+Decca+grant+Kert%C3%A9sz+a+moredramatic+reco+0+Mozart+La+clemenza+di+Tito.+Gosta+Winbergb+%28ten%29+Tito+Carol+Vaness+%28sop%29+Vitellia+Delores+Ziegler+%28mez%29+Sesto+Martha+Semi+%28mez%29+Anno+Christine+Barbaux+%28sop%29+Servilia+L%C3%A3szl%C3%B3+Polg%C3%A1r+%28bass%29+Publio+Vienna+State+Opera+Chorus+Vienna+Philharmonic+Orchestra++Riccardo+Muti.#header-logo
| title = Review – Mozart – ''La clemenza di Tito'' – Muti
| date = October 1995
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|1990||[[Anthony Rolfe Johnson]],<br />[[Júlia Várady]],<br />[[Anne Sofie von Otter]],<br />[[Catherine Robbin]],<br />[[Sylvia McNair]],<br />[[Cornelius Hauptmann]]||[[John Eliot Gardiner]]<br />[[English Baroque Soloists]], [[Monteverdi Choir]]||CD: [[Deutsche Grammophon]] "Archiv"<br />Cat: 000289 431 8062 7<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/December%201991/140/835654/MOZART.+LA+CLEMENZA+DI+TITO.+Anthony+Rolfe+Johnson+%28ten%29+Tito+Julia+Varady+%28sop%29+Vitellia+Anne+Sofie+von+Otter+%28mez%29+Sesto+Catherine+Robbin+%28mez%29+Annie+Sylvia+McNair+%28sop%29+Servilia+Cornelius+Hauptmann+%28bass%29+Publio+Monteverdi+Choir+English+Baroque+Soloists++John+Eliot+Gardiner.+Archiv+Produktion+%C2%AE+0431+8062AH2+%28two+discs%2C+nas%3A+118+minutes%3A+DDD%29.+Notes%2C+text+and+translation+included.+Recorded+at+performances+in+the+Queen+Elizabeth+Hall%2C+London+in+June+1991.
| title = Review – Mozart – ''La clemenza di Tito'' – Gardiner
| date = December 1991
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|1991||[[Philip Langridge]],<br />[[Ashley Putnam]],<br />[[Diana Montague]],<br />Martine Mahé,<br />[[Elżbieta Szmytka]],<br />Peter Rose||[[Andrew Davis (conductor)|Andrew Davis]]<br />[[London Philharmonic Orchestra]], [[Glyndebourne]] Chorus||DVD Video: ArtHaus Musik<br />Cat: 100 407<ref>{{cite web
| url = https://www.operanews.com/Opera_News_Magazine/2010/9/Recordings/MOZART__La_Clemenza_di_Tito.html
| title = Review – Mozart – ''La clemenza di Tito'' – Davis DVD
| date = September 2010
| work = [[Opera News]]|author=William R. Braun
| access-date = 19 September 2010
}}{{subscription required}}</ref>
|-
|1992||Uwe Heilmann,<br />[[Della Jones]],<br />[[Cecilia Bartoli]],<br />[[Diana Montague]],<br />[[Barbara Bonney]],<br />{{ill|Gilles Cachemaille|fr}}||[[Christopher Hogwood]]<br />[[Academy of Ancient Music]] Orchestra and Chorus||CD: [[Decca Records|Decca]] "L'Oiseau-Lyre"<br />Cat: 000289 444 1312 0<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/March%201995/93/756028/Mozart+La+clemenza+di+Tito.+Uwe+Heilmann+%28ten%29+Tito+Della+Jones+%28mez%29+Vitellia+Cecilia+Bartoli+%28mez%29+Sesto+Diana+Montague+%28mez%29+Annio%3A+Bar+bara+Bonney+%28sop%29+Servillia+Gilles+Cachemaille+%28bar%29+Publio%3A+Academy+of+Ancient+Music+Chorus+Academy+of+Ancient+Music++Christopher+Hog+wood.
| title = Review – Mozart – ''La clemenza di Tito'' – Hogwood
| date = March 1995
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|1993||[[Philip Langridge]],<br />[[Lucia Popp]],<br />[[Ann Murray]],<br />[[Delores Ziegler]],<br />[[Ruth Ziesak]],<br />[[László Polgár (bass)|László Polgár]]
|[[Nikolaus Harnoncourt]]<br />[[Zürich Opera]] Orchestra and Chorus||CD: Warner Classics "[[Teldec]]"<br />Cat: 2564-68830-8<ref>{{cite web
| url = http://www.gramophone.net/Issue/Page/May%201994/111/768429/alMozart+La+clemenza+di+Tito.+Philip+Langridge+%28ten%29+Tito+Lucia+Popp+%28sop%29+Vitellia+Ann+Murray+%28mez%29+Sesto+Delores+Ziegler+%28mez%29+Annio+Ruth+Ziesak+%28sop%29+Servilia+LAszki+Poi+%28bass%29+Publio+Zurich+Opera+Chorus+and+Orchestra+Nikolaus+Harnoncourt.
| title = Review – Mozart – ''La clemenza di Tito'' – Harnoncourt
| date = May 1994
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|2005||[[Rainer Trost]],<br />[[Hillevi Martinpelto]],<br />[[Magdalena Kožená]],<br />[[Christine Rice]],<br />[[Lisa Milne]],<br />[[John Relyea]]||[[Charles Mackerras]]<br />[[Scottish Chamber Orchestra]], Scottish Baroque Chorus||CD: [[Deutsche Grammophon]]<br />Cat: 000289 477 5792 4<ref name="mackjac">{{cite web
| url = http://www.gramophone.net/Issue/Page/June%202006/87/832352/Mozart+La+clemenza+di+Tito#header-logo
| title = Review – Mozart – ''La clemenza di Tito'' – Mackerras/Jacobs
| date = June 2006
| work = Gramophone
| access-date = 19 September 2010
}}</ref>
|-
|2005||[[Mark Padmore]],<br />[[Alexandrina Pendatchanska]],<br />[[Bernarda Fink]],<br />[[Marie-Claude Chappuis]],<br />[[Sunhae Im]],<br />Sergio Foresti||[[René Jacobs]]<br />[[Freiburg Baroque Orchestra]], [[RIAS Kammerchor|Berlin RIAS Chamber Chorus]]||CD: [[Harmonia Mundi]]<br />Cat: HMC901923.24<ref name="mackjac" />
|-
|2005||[[Christoph Prégardien]],<br />[[Catherine Naglestad]],<br />[[Susan Graham]],<br />[[Ekaterina Siurina]], <br />Hannah Esther Minutillo,<br />Roland Bracht||[[Sylvain Cambreling]]<br />Orchestra and Chorus of [[Paris National Opera]] || DVD Video / [[Blu-ray Disc|BD]]: Opus Arte<br />Cat: OA 0942 / OA BD7086D<ref>{{cite web
| url = http://www.musicweb-international.com/classrev/2006/Mar06/Mozart_Clemenza_OA0942D.htm
| title = Review – Mozart – ''La clemenza di Tito'' – Cambreling DVD
| date = March 2006
| publisher = MusicWeb International|author=Robert J. Farr
| access-date = 19 September 2010|ref=none
}}</ref>
|}

== See also ==
{{Portal|Opera}}
*[[List of operas by Mozart]]

== References ==
'''Citations'''
{{reflist}}
'''Sources'''
* {{cite book|last=Freeman|first=Daniel|author-link=Daniel E. Freeman|year=2013|title=Mozart in Prague|location=Minneapolis|publisher=Bearclaw|isbn=978-0-9794223-1-7}}
* {{cite book|last=Sadie|first=Stanley|author-link=Stanley Sadie|year=2006|title=Mozart: The Early Years, 1756–1781|location=New York|publisher=W. W. Norton|isbn=0-393-06112-4}}
* {{cite encyclopedia|last=Rushton|first=Julian|author-link=Julian Rushton|title=''Clemenza di Tito, La''|editor-last=Sadie|editor-first=Stanley|editor-link=Stanley Sadie|encyclopedia=[[The New Grove Dictionary of Opera]]|location=New York|publisher=Oxford University Press|year=1997|volume=I|pages=881–883|isbn=978-0-19-522186-2}}
* {{cite encyclopedia|last=Mellace|first=Raffaele|title=''Clemenza di Tito, La''|editor1-last=Gelli|editor1-first=Piero|editor2-last=Poletti|editor2-first=Filippo|encyclopedia=Dizionario dell'Opera 2008|location=Milan|publisher=Baldini Castoldi Dalai|year=2007|pages=241–244|isbn=978-88-6073-184-5|language=it}}

==Further reading==
* [[John A. Rice (musicologist)|Rice, John A.]] (1991), ''W. A. Mozart, "La clemenza di Tito"''. Cambridge: Cambridge University Press.
* [[Brian Robins|Robins, Brian]], [https://web.archive.org/web/20091115142821/http://www.earlymusicworld.com/id33.html "''La clemenza di Tito'' – Mozart's Operatic Failure?" on earlymusicworld.com] Retrieved 23 November 2011.
*{{cite book|editor1-last=Tessing Schneider|editor1-first=Magnus|editor2-last=Tatlow|editor2-first=Ruth|title=Mozart's ''La clemenza di Tito'': A Reappraisal|location=Stockholm|publisher=Stockholm University Press|year=2018|isbn=978-91-7635-052-2|doi=10.16993/ban|ref=none}} [[Commons:File:Mozart's 'La clemenza di Tito' A Reappraisal.pdf|Complete book]] [[File:Commons-logo.svg|frameless|12px|link=[[Commons:]]]]

== External links ==
{{Commons category|La clemenza di Tito (Mozart)}}
* {{NMA|75|-99|76|-99}}
* [https://dme.mozarteum.at/dmedata/libredition/single.php?idwnma=7241 Libretto], [[critical edition]]s, [[diplomatic edition]]s, source evaluation (German only), links to online DME recordings; Digital Mozart Edition
* {{IMSLP|work=La clemenza di Tito, K.621 (Mozart, Wolfgang Amadeus)|cname=''La clemenza di Tito''}}
* [http://www.murashev.com/opera/La_clemenza_di_Tito_libretto_Italian_English Libretto] (Italian, English)

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{{DEFAULTSORT:Clemenza di Tito, La}}
[[Category:Operas by Wolfgang Amadeus Mozart]]
[[Category:Italian-language operas]]
[[Category:Opera seria]]
[[Category:1791 operas]]
[[Category:Operas set in ancient Rome]]
[[Category:Music dedicated to nobility or royalty]]
[[Category:Operas]]
[[Category:Depictions of Titus in opera]]
[[Category:Leopold II, Holy Roman Emperor]]