Mozart: La clemenza di Tito, K621

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Apart from her gorgeous voice, DiDonato possesses a grace perfect for the role, soaring to expressive heights in her final six-minute aria…Marina Rebeka is DiDonato’s ideal vocal and dramatic... — BBC Music Magazine, November 2018, 4 out of 5 stars (Performance) /5 out of 5 stars (Recording) More…

Release Date: 6th Jul 2018
Catalogue No: 4835210
Label: Deutsche Grammophon
Length: 2 hours 20 minutes

Presto Recording of the Week

13th July 2018
BBC Music Magazine

November 2018

Opera Choice

Mozart: La clemenza di Tito, K621

Work length2:20:10

$56.10

$76.50

$104.55

Marina Rebeka (soprano), Tara Erraught (mezzo-soprano), Adam Plachetka (bass-baritone), William Conway (cello), Joyce DiDonato (mezzo-soprano), Regula Mühlemann (soprano), Jory Vinikour (fortepiano), Rolando Villazón (tenor)
Chamber Orchestra of Europe, RIAS Kammerchor
Yannick Nézet-Séguin
Recorded: 2017-07
Recording Venue: Festspielhaus, Baden-Baden

Overture

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"Ma che? sempre l'istesso"

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"Come ti piace imponi"

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"Amico, il passo affretta"

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"Deh se piacer mi vuoi"

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"Amico, ecco il momento"

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"Deh prendi un dolce amplesso"

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Marcia

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"Serbate, oh Dei custodi"

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"Te della patria il Padre" - "Basta, basta, oh miei fidi"

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Marcia Reprise

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"Adesso, oh Sesto, parla per me"

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"Del più sublime"

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"Non ci pentiam"

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"Ah perdona al primo affetto"

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"Che mi rechi in quel foglio?"

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"Di Tito al piè"

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"Ah, se fosse intorno al trono"

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"Felice me!" - "Ancora mi schernisce?"

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"Parto, ma tu ben mio"

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"Vedrai, Tito, vedrai"

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"Vengo... aspettate... Sesto!..."

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"Oh Dei, che smania è questa"

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"Deh conservate, oh Dei" - "Sesto!"

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"Sesto!" - Andante

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"Sesto, come tu credi"

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"Torna di Tito"

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"Partir deggio, o restar?"

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"Sesto! - Che chiedi?"

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"Se al volto mai ti senti"

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"Ah, grazie si rendano" - "È tutto colà d'intorno"

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"Già de' pubblici giuochi"

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"Tardi s'avvede"

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"No, così scellerato"

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"Cesare, nol diss'io"

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"Tu fosti tradito"

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"Che orror! che tradimento!" - "Ingrato!"

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"Quello di Tito è il volto!" - "Odimi, oh Sesto"

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"Eppur mi fa pietà"

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"Deh per questo istante solo"

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"Ove s'intese mai"

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"Se all'impero"

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"Publio, ascolta!"

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"Ah, Vitellia"

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"S'altro che lagrime"

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"Ecco il punto, oh Vitellia"

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"Non più di fiori"

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"Che del ciel, che degli Dei"

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"Sesto, de' tuoi delitti"

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"Ma che giorno è mai questo?"

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"Tu, è ver, m'assolvi, Augusto"

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Recording of the Week, Mozart's La clemenza di Tito from Yannick Nézet-Séguin

13th July 2018

Marina Rebeka and Joyce DiDonato strike sparks off one another as Vitellia and Sesto in a terrific new recording of Mozart's final opera, with Rolando Villazón as the idealistic emperor against whom they conspire.

This is the fifth instalment of DG’s series of seven Mozart operas conducted by Yannick Nézet-Séguin, and initiated by Rolando Villazón, in collaboration with Festspielhaus Baden Baden and with the generous support of ROLEX For La Clemenza di Tito, Mozart’s last opera about the benevolent Emperor Titus who pardons an attempt on his own life, Rolando and Yannick – new music director of the MET – are joined by outstanding partners: A stellar cast in every role and specialist handpicked orchestra playing at their best in the stunning venue of Festspielhaus Baden-Baden Rolando adds yet another intriguing Mozart role to his already large discography. This time it is his role debut as Tito, reinforcing again his love for Mozart: “No composer has spoken to as directly as Mozart. I feel like I have a soul mate in him.”

In addition Rolando has been named Artistic Director of the Salzburg Mozart Week Previous productions in this series are: Don Giovanni, Così fan tutte, Die Entführung aus dem Serail (Grammy Award Nomination) and Le Nozze di Figaro (Grammy Award Nomination & Echo Klassik Award).

Reviews

November 2018

Apart from her gorgeous voice, DiDonato possesses a grace perfect for the role, soaring to expressive heights in her final six-minute aria…Marina Rebeka is DiDonato’s ideal vocal and dramatic foil…What’s special about this Clemenza is Yannick Nézet-Séguin’s trust in Mozart’s lyricism, heard for instance in the huge space he gives the soloists for their tender numbers. The conductor has created a production that’s as sensitive as it is exuberant.

Awards Issue 2018

As before in this series, the luxury all-star casting is predominantly but not entirely spot-on. Any Mozartian with a pulse ought to be moved by Joyce DiDonato’s passionate Sesto…Regula Mühlemann’s dulcet Servilia…Tara Erraught’s blithe Annio and Adam Plachetka’s resonant Publio. Less happily, Villazón’s effortful strain hampers arias that require limpid finesse.

November 2018

This Sesto strikes me as DiDonato’s finest achievement on record so far…She’s matched by Marina Rebeka in thrillingly uninhibited form…The supporting parts are very well taken, and more than that in the matter of Tara Erraught’s warm-spirited, generously sung Annio…[Villazón’s] Tito comes alive in recitative…but proves all too often uncomfortably tight-sounding in the formal musical numbers.

13th July 2018

After a slightly lacklustre Nozze di Figaro a couple of years ago, the dramatic temperature is back to white-hot, and the women in particular are as fine as any I’ve heard on record…Rebeka sweeps all before her as the venomous Vitellia, completely in command of the role’s notoriously wide compass...DiDonato is on blazing form...Villazón is his idiosyncratic self as the titular Emperor.

5th August 2018

A surprisingly “old-school” Tito from the Met’s new music director boasts exceptional performances from Joyce DiDonato (a Sesto up there with the best on disc), Tara Erraught and Regula Mühlemann. Marina Rebeka’s Vitellia is more controversial: less beautifully sung than Baker’s or Varady’s, but vivid.

19th July 2018

DiDonato’s Sesto is vibrant and memorable. So too is Marina Rebeka’s Vitellia, a larger-than-life performance that right away establishes the volatility of the character...The main idiosyncrasy is Villazón...Some listeners will find his warm, passionate portrayal of the merciful emperor an antidote to the generic, antiseptic style in which Mozart can be played today; others will balk at his expressive tuning, and wonder why he sounds as if he is limbering up for Nessun Dorma.

20th July 2018

In vocal terms, as usual, Villazón holds the wild card. He departs from selected notes with a greasy glide, often landing on others in the same way. Yet his expressive liberties stop Tito from seeming a dramatic contrivance needed to shape the customary opera clash between love and duty. With their lively phrasings and sharp attack, there’s also something refreshingly surprising about Nézet-Séguin and the Chamber Orchestra of Europe.

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Mozart: La clemenza di Tito, K621

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Recording of the Week, Mozart's La clemenza di Tito from Yannick Nézet-Séguin

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