Mozart // La clemenza di Tito

E' un opera meravigliosa del grandissimo Mozart, e' sono contento che sia stata riscoperta a livello mondiale.

Outstanding performance! One of Mozart's best operas. Unconditional love and friendship. Envy, vengeance, desire, loyalty, repentance total absolution all in one opera. Impossible to surpass.

This recording of an exquisite performance and production is the most wonderful gift from the Bergen Nasjonale Opera.

Thank you for uploading such a great performance that proves how powerful can be both music and human drive to perfection despite all obstacles. All singers were excellent and congratulations to the director's approach.

Wonderful performances under very difficult conditions. It's true that much as I enjoyed the Da Ponte collaborations with Mozart, his two opera serie speak to my soul. Some of the ensemble pieces have a mass like quality to them. I love the Baroque and Classical eras the best. The romantic composers, especially Wagner took themselves much too seriously.

Such an underrated masterpiece!

Toda la producción excelente, músicos y cantantes, pero la actuación y voz de Beate Mordal son superlativas!

¡Sublime, Capolavoro! ¡Grazie tante! Aveces pareciera que la humanidad vale la pena.

Thank you Danke. Spasiba ❤

Gorgeous voices and such accomplished, committed singing and performance. Astonishing!

I loved this performance, thanks for this gift.

Bravo! Great cast!

Awesome 👍🏾❤so very well done 👌🏾

La clemenza di Tito , es de Mozart , es .........beautiful ❤

I sannhet en fabelaktig kveld. I denne oppføringen av Clemenza di Tito stemte absolutt alt: sangernes sang og skuespilleri, orkesterets spill og korets sang, scenografien - og den som oversatte librettoen har også gjort en briljant jobb. Bravo, bravo, bravissimo. Da capo.

Wonderful.

Niemetschek’s early Biography of W. A. Mozart states that ‘the job of scribbling out the secci recitativi in Tito was handed over to Franz Suessmayr in the interests of saving much need time’ —he was the copyist-student of Mozart in 1791 (who was describ’d by Constanza Mozart years later as someone who couldn’t even compose his way out of a paper bag...) whose work on the score seems to have been ‘sternly corrected’ in places by Mozart himself - and to think he was given the job of completing the Requiem fragment from Sketches in Jan 1792–but the fact that Mozart himself was only given the scrittura to compose this Opera from start to finish on 22 July 1791 for a plann’d premiere on 6 Sept 1791 meant that extreme measures were taken - with only 45 days at his disposal to have the old ‘wooden’ Libretto of 1734 condens’d from 3 Acts to 2–and to have to compose music ‘blindly’ for a cast that had not yet been hired — in fact the first 3 movements were written for soprano & tenor & tenor & basso (natura voce) before it was told (7 Aug 1791) that the part of Sesto was going to be sung by a castrato — then on the 11th that Annio’s part was also going to be sung by a trouser-roled female soprano voice — so that M. was not appris’d of the identities of the entire cast until 18 days before the premiere - which involv’d a lot of painful re-writing of much of what was already sketch’d out for these two characters by 18 August 1791 ... Mozart however had (thankfully) by this time already sketch’d the two finales (vocal parts & figur’d Bassline with Wind parts & first violin only inserted here & there throughout where it carried forward the vocal line) and the bravura aria of Vitellia in Act 2 (non piu di fiore) was re-us’d from an old concert aria written for Josepha Düsseck in 1789)—and the marches & vocal ensembles (duetti, trios, quartets & quintets & accompagnati recitativi) were all sketched out in vocal parts & Bassline by 18 August 1791 so all that was left to do would be to supply 10 solo arias — one compos’d right after another then another then another —quite a challenge even for a Mozart ... Had he liv’d to put the finishing touches on the score as originally conceiv’d he would have transform’d at least half a dozen of Suessmayr’s silly secci recitativi into ‘extended recitativi accompagnati’ & added another vocal quartet and a quintet & possibly a few more choruses - but we’re very grateful to have what we have - and must content ourselves with what has surviv’d in writing from his immortal pen down to our present day...

Well staged given the circumstances and an excellent performance of Mozart's last opera.

¡Qué maravilla!

Enérgica y dinámica dirección, en algunos puntos muy pequeños me hubiera gustado algo más de calma pero prefiero eso a las direcciones lentas y pesadas. La orquesta suena bestial y los cantantes igualmente extraordinarios. Una cosa, si escucháis la grabación con cascos podréis oir al director canturrear algunas partes orquestales XD