Lyric Opera of Chicago
  • Share
  • Print
    • Share
  • To Top

  • by Wolfgang Amadeus Mozart
  • In Italian with projected English texts.

    New-to-Chicago production. Production of The Festival d’Aix-en-Provence, in coproduction with le Théâtre du Capitole de Toulouse and l’Opéra de Marseille.

  • Approximate running time: 2hrs 50 min

 

Polenzani and DiDonato singing. Davis conducting. McVicar’s production. And Mozart’s music. Season finales don’t come with better pedigrees than this.

Emperor Tito strives to be merciful, but there’s betrayal around every corner. He’s come to power because his father usurped the throne. Now, the deposed emperor’s daughter—manipulative Vitellia—wants either to become Tito’s wife or to have him murdered! The proposed assassin? Sesto—her obsessed lover and Tito’s closest friend! 

Personal and political power plays in Rome take center stage in this musically ravishing and dramatically complex story. This is Mozart at his most modern—with riveting, desperately conflicted characters and extraordinary music for both solo voice and chorus.

 


A highlight of the prestigious 2011 Aix-en-Provence Festival, this production is filled with theatrical urgency and fire. “McVicar’s direction is characteristically sharp, adding psychological complexity and bringing the drama to life.” The Telegraph, London

The role of Tito requires beauty of sound combined with incomparable musicality and flexibility: Matthew Polenzani has it all. He’s heir to the great line of Mozart tenors with “his rich tone, supple phrasing, and ardent delivery.” The New York Times

Talk about dream casting! The remarkable Joyce DiDonato portrays Sesto, one of the mezzo repertoire’s greatest roles. “Staggering, joyful artistry…DiDonato is a transformative presence.” Gramophone

Amanda Majeski “threw herself into Vitellia’s neurotic edginess…a genuine tour de force performance that brought down the house.” Chicago Tribune

 


Lyric Opera presentation generously made possible by Julie and Roger Baskes, The Negaunee Foundation, and Roberta L. and Robert J. Washlow.

 

Starring

  • Matthew Polenzani

    Tito

    Matthew Polenzani

    The role of Tito requires beauty of sound combined with incomparable musicality and flexibility: Matthew Polenzani has it all. He’s heir to the great line of Mozart tenors with “his rich tone, supple phrasing, and ardent delivery.” The New York Times

  • Joyce DiDonato

    Sesto

    Joyce DiDonato

    Talk about dream casting! The remarkable Joyce DiDonato portrays Sesto, one of the mezzo repertoire’s greatest roles. “Staggering, joyful artistry…DiDonato is a transformative presence.” Gramophone

  • Amanda Majeski

    Vitellia

    Amanda Majeski

    Amanda Majeski “threw herself into Vitellia’s neurotic edginess…a genuine tour de force performance that brought down the house.” Chicago Tribune

La Clemenza di Tito - Matthew Polenzani

Tito
Matthew Polenzani

La Clemenza di Tito - Joyce DiDonato

Sesto
Joyce DiDonato

La Clemenza di Tito - Amanda Majeski

Vitellia
Amanda Majeski

La Clemenza di Tito - Cecelia Hall

Annio
Cecilia Hall

La Clemenza di Tito - Emily Birsan

Servilia
Emily Birsan

 

La Clemenza di Tito - Christian Van Horn

Publio
Christian Van Horn

La Clemenza di Tito - Sir Andrew Davis

Conductor
Sir Andrew Davis

La Clemenza di Tito - Sir David McVicar

Original Director
Sir David McVicar



Revival Director
Marie Lambert    

 



Set Designer
Sir David McVicar

 

La Clemenza di Tito - Jenni Tiramani

Costume Designer
Jenni Tiramani*

 

La Clemenza di Tito - Jennifer Tipton

Lighting Designer
Jennifer Tipton

 



Chorus Master
Michael Black

 

*Lyric Debut
† current member, Ryan Opera Center
† † alumnus/ alumna, Ryan Opera Center

On CD

With original instruments:

Varady, McNair, von Otter, Robbin, Rolfe Johnson, Hauptmann; Monteverdi Choir, English Baroque Soloists, cond. Gardiner. (Archiv) 

Jones, Bonney, Bartoli, Montague, Heilmann, Cachemaille; Academy of Ancient Music Chorus and Orchestra, cond. Hogwood. (L’Oiseau-Lyre)

Pendachanska, Im, Fink, Chappuis, Padmore, Foresti; Freiburg Baroque Orchestra, Berlin RIAS Chamber Chorus, cond. Jacobs. (Harmonia Mundi )

With modern instruments:

Baker, Cahill, Minton, Howells, Hollweg, Lloyd; Chorus and Orchestra of the Royal Opera House, Covent Garden, cond. Pritchard. (Gala) 

Baker, Popp, Minton, von Stade, Burrows, Lloyd; Chorus and Orchestra of the Royal Opera House, Covent Garden, cond. C. Davis. (Philips)

Popp, Ziesak, Murray, Ziegler, Langridge, Polgár; Zurich Opera Chorus and Orchestra, cond. Harnoncourt. (Teldec)

Vaness, Barbaux, Ziegler, Senn, Winbergh, Polgár; Chorus of the Vienna State Opera, Vienna Philharmonic, cond. Muti (EMI)

Varady, Mathis, Berganza, Schiml, Schreier, Adam; Leipzig Radio Chorus, Staatskapelle Dresden, cond. Böhm. (DG)

On DVD

Putnam, Smytka, Montague, Mahé, Langridge, Rose; Glyndebourne Chorus, London Philharmonic, cond. A. Davis, dir. Hytner. (Arthaus Musik) 

Röschmann, Bonney, Kasarova, Garanča, Schade, Pisaroni; Chorus of the Vienna Staatsoper, Vienna Philharmonic, cond. Harnoncourt, dir. Kušej. (Arthaus Musik)

Neblett, Malfitano, Troyanos, Howells, Tappy, Rydl; Chorus of the Vienna Staatsoper, Vienna Philharmonic, cond. Levine, dir. Ponnelle. (DG)

Naglestad, Siurina, Graham, Minutillo, Prégardien, Bracht; Chorus and Orchestra of the Opéra National de Paris, cond. Cambreling, dir. Herrmann. (Kultur)

Further Reading

The Cambridge Mozart Encyclopedia by Cliff Eisen and Simon P. Keefe (editors), Cambridge University Press, 2007. A great reference.

The Complete Operas of Mozart by Charles Osborne, Victor Gollancz, Ltd., 1978.

Mozart: A Cultural Biography by Robert W. Gutman, Harcourt Brace, 1999. This is a more detailed biography, with valuable digressions for those who can afford the time.

Mozart and His Operas by David Cairns, University of California Press, 2006. A wonderful integration of biography with accessible musical analysis—a great “two-fer” for those with limited time.

Mozart’s Operas: A Companion by Mary Hunter, Yale University Press, 2008. Logically formatted with operas grouped by genre along with an explanatory introduction of each genre. Summaries of individual operas are edifying, as are three chapters on, respectively, Mozart’s theaters, social world, and operas in production.

Subscribe Now
Save up to 40%

Save up to 40% over the cost of individual tickets! And subscribers get exclusive reservations for a concert with Renée Fleming & Jonas Kaufmann!