(http://www.virginiawestern.edu/community/metopera.php). Join me at 12:30 before the 12:55 curtain for an "opera insights" talk about this classic and traditional "period" production that has been a Met staple championed for years by the likes of James Levine.
Mozart's ultimate grand opera, La Clemenza di Tito launches the December HD fest. Don Giovanni and The Marriage of Figaro are the most popular of his Italian operas. The Magic Flute is the most delightful of the crown jewels in Mozart's incredibly productive final year of 1791 (which also saw the sublime Clarinet Concerto and the fate-filled unfinished Requiem). La Clemenza di Tito may be the grandest achievement of that amazing year. It closed in Prague "with tremendous applause" the very night Die Zauberflöte opened in Vienna. One of the critics of the day wrote, "the music stamps the composer of it as the greatest musical genius of the age." Contemporaries would have thought W.T. Parke's remark an exaggeration; little did any of them know his praise was an understatement.
Here's an image of the autograph score:
Below, I've copied the synopsis from the MET website.(http://www.metoperafamily.org/metopera/liveinhd/LiveinHD.aspx)
The title character is one of the greatest tenor roles Mozart wrote, making it one of the great tenor roles of the 18th century. The triangle at the heart of the plot is completed with Mozart's greatest "trouser" role: Sesto. Sesto (sung by a mezzo) is both friend to Tito and in love with Vitellia, the daughter of the deposed emperor. Tito is the benevolent son of her father's enemy, making Vitellia one of those fiery "drama queens" hell-bent on revenge.
One of the highlight's of Mozart's vocal writing is the aria for Sesto near the end of act 1, "Parto, parto, ma tu, ben bio," written for the mezzo with basset clarinet obbligato. The clarinetist for whom Mozart wrote his beloved concerto, Anton Stadler was in the pit for Tito, since the composer wrote one of his most virtuosic instrumental solos expressly for him. In addition to several arias and duets being encored, Stadler received as much of an ovation from the premiere audience as did the singers. Opera has always been a paradigm for artistic collaboration...
Here is a silhouette of Stadler and an image of an 18th century basset clarinet.
Act I
Rome, first century AD. The Roman emperor Tito is in love with Berenice, daughter of the king of Judea. Vitellia, the former emperor’s daughter, feels that she should hold the throne herself and asks her young admirer Sesto to assassinate Tito. Though he is a close friend of the emperor, Sesto will do anything to please Vitellia, so he agrees. When Sesto’s friend Annio tells him that Tito, for reasons of state, will not marry Berenice, Vitellia becomes hopeful again and asks Sesto to put off the assassination plot. Annio reminds Sesto of his own wish to marry Sesto’s sister Servilia. The two men affirm their friendship.
At the forum, the Romans praise Tito. The emperor tells Annio and Sesto that since he has to take a Roman wife he intends to marry Servilia. Diplomatically, Annio assures Tito that he welcomes his decision. Tito declares that the only joy of power lies in the opportunity to help others. When Annio tells Servilia of the emperor’s intentions, she assures him of her love.
In the imperial palace, Tito explains his philosophy of forgiveness to Publio, the captain of the guard. Servilia enters and confesses to the emperor that she has already agreed to marry Annio. Tito thanks her for her honesty and says he will not marry her against her wishes. Vitellia, unaware that Tito has changed his mind, furiously insults Servilia and asks Sesto to kill the emperor at once. He assures her that her wish is his command. After he has left, Publio and Annio tell Vitellia that Tito has decided to choose her as his wife. Vitellia desperately tries to stop Sesto but realizes it is too late.
Sesto has launched the conspiracy and set fire to the Capitol. Full of shame, he runs into Annio, evades his questions and rushes off. Servilia appears, then Publio, and finally Vitellia. They are all searching for Sesto and believe that Tito has died. Sesto returns, looking for a place to hide. He is about to confess his crime but is silenced by Vitellia.
Act II
In the palace, Annio tells Sesto that the emperor is still alive. When Sesto confesses his assassination attempt but refuses to give any reason, Annio advises him to admit everything to Tito and hope for forgiveness. Vitellia rushes in, begging Sesto to flee, but she is too late: a fellow conspirator has betrayed him, and Publio enters with soldiers to arrest him. Sesto asks Vitellia to remember his love.
The Roman people are thankful that the emperor has survived. Tito struggles to understand the conspirators’ motives and doubts Sesto’s disloyalty. Publio warns him against being too trusting. When it is announced that Sesto has confessed and been sentenced to death by the Senate, Annio asks Tito to consider the case compassionately. The emperor will not sign the death decree until he has had the chance to question Sesto himself. Alone with Tito, Sesto assures him that he did not want the throne for himself, but he hesitates to implicate Vitellia. Tito, not satisfied with this explanation, dismisses him. Sesto asks Tito to remember their friendship and is led off. The emperor signs the decree, then tears it up: he cannot become a tyrant and execute a friend. He cries out to the gods, saying that if they want a cruel ruler, they have to take away his human heart. Servilia and Annio beg Vitellia to help save Sesto. She realizes that she must confess her crime rather than accept the throne at the price of Sesto’s life.
In a public square, Tito is about to pronounce Sesto’s sentence, when Vitellia appears and admits that she alone is responsible for the assassination attempt. The bewildered emperor explains that his intention was to forgive Sesto anyway. He finally decides to pardon all the conspirators. The Roman people praise Tito for his kindness and ask the gods to grant him a long life.
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