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La clemenza di Tito Wolfgang Amadeus Mozart (1756-1791)

Tickets on sale
06 Feb 12:00

A FORGIVING RULER

Duration 3:30

Breaks 1

By Wolfgang Amadeus Mozart

Language Italian

Surtitles Dutch and English

In his production of Mozart’s opera La clemenza di Tito, Peter Sellars shows a society that rises and falls, which he links to recent events in Paris and Brussels.

In short

La clemenza di Tito is the only opera by Wolfgang Amadeus Mozart being performed by Dutch National Opera this season. The opera was commissioned for a special occasion and was written under great pressure of time and in difficult private circumstances. Nevertheless, the music is of a high quality and there are plenty of interesting contextual elements in La clemenza di Tito.

© Salzburger Festspiele
© Salzburger Festspiele
© Salzburger Festspiele

in the press

"La clemenza di Tito at Salzburg Festival — unforced diversity and a new sound for Mozart"

Financial Times about La clemenza di Tito (2017)

Background

The coronation ceremony of Emperor Leopold II on becoming King of Bohemia in Prague (1791) could not do without a festive opera. Mozart was commissioned to write a royal opera seria, a favourite genre with the emperor. The idea of a forgiving ruler corresponded to his enlightened character. In this sense, the historical protagonist Titus in La clemenza di Tito is certainly a much more positive character than his counterpart Heliogabalus in Cavalli's Eliogabalo, earlier this season.

Peter Sellars

Director

PETER SELLARS is known for his innovative interpretation of classical works from Western and non-Western cultures.

Team, Cast and Chorus

Musical director 
Teodor Currentzis
Stage director 
Peter Sellars
Sets 
George Tsypin
Costumes 
Robby Duiveman
Lighting 
James Ingalls
Orchestra 
MusicAeterna
Chorus 
Chorus of Dutch National Opera
Rehearsal director 
Ching-Lien Wu
Tito Vespasiano 
Russell Thomas
Vitellia 
Golda Schultz
Servilia 
Janai Brugger
Sesto 
TBA
Annio 
Janine de Bique
Publio 
Sir Willard White

Creation

In La clemenza di Tito, director Peter Sellars makes a link between Tito’s end and that of Mozart. In his concept, Tito has been wounded and is dying, and his assailants are not strangers, but people he knows. Mozart himself was seriously ill and only had a few months to live. Furthermore, his wife Konstanze was having an affair with his pupil Franz Xaver Sussmayr, who wrote the recitatives for Clemenza. Extensive cuts are made to these recitatives, whereas other music by Mozart is added at crucial moments.

George Tsypin’s sets for La clemenza di Tito show a ruined city, a new city with glass offices and several pillars that create light patterns, turning the scenery into the source of light.

Conductor Teodor Currentzis is the music director of the Opera and Ballet Theatre in Perm. With his ensemble MusicAeterna, he is renowned for temperamental yet sensitive performances. In the words of Peter Sellars: ‘... powerful, genuinely dramatic, poetic, heart-felt and real’.

Teodor Currentzis and his ensemble MusicAeterna are making their debut with Dutch National Opera, as are the soloists. Sir Willard White (Publio) has been a guest in Amsterdam many times before.

The Chorus of Dutch National Opera plays an important role in La clemenza di Tito as ‘the people’.

Music

The orchestra of MusicAeterna, from the Opera and Ballet Theatre in Perm, is regarded as one of the most innovative ensembles specialising in authentic performance practices. After its foundation in 2004 by Teodor Currentzis, the ensemble rapidly gained recognition in Russia and abroad. MusicAeterna’s repertoire reaches beyond the borders of early music. The ensemble plays works from various periods, including music of the 20th century and works by living composers. MusicAeterna will be guesting for the first time with Dutch National Opera, in La clemenza di Tito.

    Mon 13 Feb Financial Times about Only The Sound Remains, 2016

    ‘Sellars, as always, sets out with consummate sincerity and solid stagecraft to convey a highly spiritual message.’