Name: La clemenza di Tito
Start: 2016-07-01T00:00:00.000Z
End: 2016-07-08T00:00:00.000Z
Location: Opernhaus

Admin

Organization

Singer

Tenor

Ramón Vargas

Titus

Soprano

Marina Rebeka

Vitellia

Mélissa Petit

Servilia

Countertenor

Anna Stephany

Sesto

Julie Boulianne

Annio

Bass

Roberto Lorenzi

Publio

Conductor

Ottavio Dantone

Stage director

Jonathan Miller

Set designer

Isabella Bywater

Costume designer

Lighting designer

Hans-Rudolf Kunz

Chorus master

Jürg Hämmerli

Pianist

Anna Hauner

Opernhaus Zürich

Others

Chor der Oper Zürich

Orchestra

Philharmonia Zürich

Taljan

La clemenza di Tito -  (The Clemency of Titus)

Zurich

Switzerland

Opernhaus

Public

The Clemency of Titus

Ġermaniż

Ingliż

Approved

Accordionist

Instrumentalist

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Bassoonist

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Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

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Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

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Chefdirigent Musiktheater

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Wig & Makeup Designer

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Writing and performance

Baritone

Contralto

Bass-baritone

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

La clemenza di Tito
Als «porcheria tedesca» (deutsche Schweinerei) soll Kaiserin Maria Louisa, Gattin Leopolds II., Mozarts La clemenza di Tito verurteilt haben. Die gebürtige Neapolitanerin war mit der Tradition der italienischen Opera seria vertraut, und die ihr zugeschriebene Aussage macht deutlich, wie stark Mozart in dieser Oper, die er in seinem letzten Lebensjahr anlässlich der Krönung Leopolds II. in Prag schrieb, davon abgewichen ist. Während in Frankreich allmählich die Abschaffung der Monarchie eingeleitet wurde, kürzten Mozart und sein Librettist das bis dahin bereits um die vierzig Mal vertonte Libretto von Pietro Metastasio radikal und liessen darin den absolutistischen Macht­kosmos ins Private zerfallen: Im Fokus der Intrige der sich verschmäht fühlenden Vitellia, die ihren Liebhaber Sesto zum Mord am verhassten römischen Kaiser Titus anstiftet, steht nicht mehr das politische Gefälle zwischen Souverän und Untertan, sondern ein zutiefst menschliches Drama. Von äusserster Empfindsamkeit ist denn auch Mozarts Partitur geprägt, die einige seiner schöns­ten Arien und Ensembles umfasst.
In der Wiederaufnahme singt Ramón Vargas den Tito, Marina Rebeka und Anna Stéphany debütie­ren als Vittelia und Sesto. Am Dirigentenpult steht Ottavio Dantone, der in der vergangenen Spielzeit unsere Vivaldi-Neuproduktion geleitet hat.

Deutsch

La clemenza di Tito
Empress Maria Louisa, wife of Leopold II, wrote Mozart's La clemenza di Tito as a "porcheria tedesca" (German mess).have condemned. Born in Neapolitan, she was familiar with the tradition of Italian opera seria, and the statement attributed to her makes clear the extent to which Mozart deviated from it in this opera, which he wrote in the last year of his life for the coronation of Leopold II in Prague. While the abolition of the monarchy was gradually being introduced in France, Mozart and his librettist radically shortened the libretto by Pietro Metastasio, which had already been set to music around forty times, and allowed the absolutist cosmos of power to collapse into the private sphere: the focus of the intrigue of Vitellia, who felt spurned, who instigates her lover Sesto to murder the hated Roman Emperor Titus, the political gap between sovereign and subject is no longer the focus, but a deeply human drama.
In the revival, Ramón Vargas sings Tito, Marina Rebeka and Anna Stéphany make their debuts as Vittelia and Sesto. Ottavio Dantone, who directed our new Vivaldi production last season, is on the podium.

English

The Clemency of Titus by Mozart, Minn (2016/2016), Immexxi minn Jonathan Miller,, Surmast Direttur Ottavio Dantone, Opernhaus, Zurich, Switzerland

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