Some critics have complained that Mozart had to write this opera in a very short time and thatswhy it was not as good as his other operas. I'm no expert but I love this opera. I wonder why nobody is able nowadays to write music that is nearly as good as the wonderful music of Mozart.
I think it's not only a matter of being able to - but very often one of recognizing a new and like composer. Perhaps here you might find what you are looking for: th-cam.com/video/XImlSPLi3H0/w-d-xo.html Just give it a try. :)
Excelente montaje de la opera maestra del gran genio de W. A. Mozart. Una opera que está a la altura de grandeza y belleza de las otras como Don Giovanni, La Flauta Mágica y La Nozze di Figaro. Kunde interpreta el rol de Titus divinamente. Bravo!!
La interpretación de Tito en la voz del maestro Gregory Kunde estuvo magistral "outstanding" digno de un gran representante que ha dejado huella indeleble entre los mejores cantantes líricos de la actualidad. Bravo!!!
Yes, there are quite a few live recordings of this Mozart's last masterpiece opera, but for me, Sir Colin Davis stands out as the best conductor of this majestic and grand opera. He knew exactly what Mozart wanted, and how should his style and and tempo should be, and Sir Colin Davis is the master of Mozart that no other conductor can beat, other than Karl Böhm, my other best-loved of Mozart's music. Sir Colin Davis, you will be missed by Classical music lovers.
So hard to perform and for that reason so rarely. This truly is a masterpiece. Mozart proves one more time that he was a genius of composing. Nothing but praise words for this performance. Beautiful. One of the most beautiful operas of all time in my opinion. Just beautiful, nothing more to say.
Entièrement d'accord avec ta réflexion. La musique de Mozart m'habite au quotidien, et je ne peux imaginer le monde sans ses chefs d'oeuvre. Cet ultime opéra est sublime, une merveille, Merci !
+Barbara Northwood Like EVERY single production - of about eight - of David McVicar's I've ever seen. His Entfuhrung at Glyndebourne this year was if anything even more beautiful and , as where, brought a beautiful but slightly flawed work searingly and meaningfully to life.
+Richard Cumming-Bruce Like you I admire his work very much although I've not seen as many of his productions as yourself and then only through the good offices of You Tube. He has the happy knack of finding subtle nuances of meaning not obvious in the text. I envy your seeing the current production. I read that it is excellent.
+Barbara Northwood Thanks Barbara. You might like to know that you can see it, much more cheaply than at the festival, on the Glyndebourne Tour this autumn. Even if its full, you can nearly always get returns to Glyndebourne if you are organised about ringing the (exceptionally helpful) Box Office. He more than just finds nuances - he brings ALL the characters totally to life in a way that I've never seen in Entfuhrung before, and the sets are, as ever, ravishing. I've also seen Aida, Carmen, Clemenza, Figaro, Giulio Cesare, Rigoletto, Tosca, Trovatore and Zauberflote of his -and I'd recommend each and every one of them. To me, there is contest as to who is the finest opera producer of his generation!
The Operatic Impresario for the Bohemian National Theatre in Prague (Domenico Guardasoni) had originally approach’d Antonio Salieri sometime in early July 1791 with a Scrittura to compose a festival opera for the Coronation Ceremonies for Leopold II as King of Bohemia on 6 September 1791-but he had taken over the responsibilities for the Vienna National Theatre for his student Josef Weigl with whom he was preparing a festival Cantata to be perform’d at Esterhaza that same week - and turn’d Guardasoni down no less than three times before finally Guardasoni turn’d to Mozart having doubl’d the remuneration to 200 ducats & 50 ducats extra for traveling expenses sometime on Friday the 22nd of July 1791 - leaving only 45 days with which to get a workable Libretto (trimming Metastasio’s wooden 3-Act opera La Clemenza di Tito down to two acts &c.) and compose the music and rehearse the ensemble in time for the premiere ... What made matters worse was the fact that none of the parts had been cast yet-and M. typically wrote specific music for specific singers in the solo arias- In fact he was not presented with a list of singers until Thursday 18 August (18 days before the final dress rehearsal) which meant he had to compose all the concerted pieces (duetti, trios, quartets, quintets, marches, the choruses & the two finales first & only after he knew the ranges of the singers would he tackle the 10 or so solo-arias (which meant from 18 August through 5 September 1791 he was writing aria after aria after aria after aria at breakneck speed..) To save time, the job of composing the 15 or so secci recitativi was handed over to his student copyist Franz Xaver Suessmayr (1763-1801) -but it is clear that (after scholars had review’d them closely for lapses in style) thst Mozart must have felt the need to re-write half a dozen of them... In Act II the grand concert aria (‘Non piu di fiori’-with an obbligato corno di bassetto part) had already existed since 1789 (it was originally written for Josepha Dussek) and could be re-us’d with a new accompagnato recitativo introduction to fit into the plot of the new opera-evidently another time-saving device ... Had M. liv’d to put the finishing touches on the score, he surely would have upgraded some of Suessmayr’s more prosaic secci recitativi for a series of elaborate & far more dramatic accompagnati (as he had done previously in his 1785 Vienna revival of Idomoneo from 1781) and probably would have added a few more choruses & marches to offset some of the weaknesses in the plot-but we must remain satisfied with what he manag’d to set in writing during those frantic 45 days of white-hot creation - Thankfully M. had several unus’d drafts from Die Zauberflote (April through July 1791) to re-work for Tito (the Magic Flute was more or less finish’d by the end of July except for the Overture & the March of the Priests which-according to his Verzeichnuess Catalogue-were added late September 1791)- Apparently it was from the same fund of unus’d sketch material that M. also resorted to re-using/completing/re-adapting in the ‘Little Masonic Cantata’ of early November 1791-that is before 19 November 1791 when his final illness began to materialise (evidently a streptococcal infection which typically always trigger’d his latent Rheumatic Fever symptoms including fainting fits, high fever & severe edema swelling of hands & feet)-at one point he seems to have injured his head in a blackout seizure causing an internal hematoma (‘Una deposita alla testa’) whose bleeding could not be controll’d according to Dr Nikolaus Klosset of the Vienna National Hospital ... We see however in The Magic Flute, La Clemenza di Tito & the Requiem the music of a man who seem’d to be relishing his latest successes & was evidently in the throes of introducing a series of wholly new directions for his music - which had he liv’d would have revolutionis’d the musical scene in Europe far earlier than Beethoven’s later impacts after 1804...
Yes! Absolutely IMPERIAL. My first La Clemenza di Tito's DVD, the Glyndebourne version, immediately fell in love with this opera too, besides all my other favorites, all of Mozart's operas of course. He brought a little bit of heaven onto earth. I simply adore Mozart.
#OTD (30 September) in 1791 the last and most successful performance of _Tito_ (‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’-W.A.M.) 💐💐💐
2:18:58 Sestetto con coro - Finale (Tu, è ver, m'assolvi, Augusto - Il vero pentimento - Oh generoso! oh grande! - Eterni Dei, vegliate - Troncate, eterni Dei)
its a beautiful production: the acting, sets, costumes and though the other casting is wonderful, I must agree that Tito's voice is nice, not completely up to snuff. Lyric Opera Chicago did this production with Joyce DiDonato as Sesto and Matthew Polenzani in his role debut of Tito and though I only listened on the radio, he sounded perfect!
22:28, coro p. 42 24:05, rec. Tito 52:20, vedrai, Tito , vedrai 53:02, vengo, apsettate 53:34, p. 117 55:44, Recitativo Sesto, Oh dei, che smania è questa 59:27, Quintetto con coro 1:00:50, p. 138 1:01:10, p. 139 1:01:27, Chi per pietà, Vitellia, scena 13 1:01:41, p. 141 1:02:47, recitativo p. 145 1:03:06, la nobil alma, p. 146 1:03:45, n9n ti palesar p. 148 1:07:02, Secondo atto, rec. p. 158 1:11:47, rec. p. 168 1:14:50, p. 174 1:16:06, p. 176 1:19:15, p. 185 1:35:30, p. 217 1:37:05, p. 219 1:37:25, p. 221 1:37:38, p. 222 1:37:59, p. 223 1:43:17, Ah se in questo 2:14:00, coro p. 294 2:15:36, p. 300 recitativo 2:20:45, p. 312 2:21:35, p. 318
#OTD (30 September) in 1791 the last and most successful performance of _Tito_: ‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’ (W.A.M.) 💐💐💐
Having brilliantly fused music and drama in Figaro and Don Giovanni, why did Mozart retreat to older, more static forms such as opera seria and Singspiel? Was it a conscious choice or just the way commissions presented themselves?
A commission and he created a masterpiece. Of course, I adore baroque opera serie, especially Handel, so I have a preference for it. I consider Don Giovanni the best of the DaPonte operas.
I dislike this mania for 'dramatized' overtures in opera productions. The men standing there added nothing. The 'curtain' going up on a production should be a transition, an entering-into-the-story, a surprise. ....I just want to enjoy the overture by itself.......
Overtures in Mozart's day were often accompanied by stage action. Dramatic treatises of the time give quite specific instructions as to what the singers should do during the overture, and what sort of dramatic action should be portrayed therein. This is by no means a modern-day innovation.
The problem with the Tito (Gregory Kunde) is that he has rather shredded his top register with reaching a high F's (above the tenor high C) in full voice too often.It's not that he is bad,just unsatisfactory,and now that he is (here) 57 all that damage is showing(and sounding). Sad,because when he was younger he had a wonderful voice,but went up the path of repetetive high notes and has paid for it.
#OTD (30 September) in 1791 the last and most successful performance of _Tito_ (‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’-W.A.M.) 💐💐💐
Some critics have complained that Mozart had to write this opera in a very short time and thatswhy it was not as good as his other operas. I'm no expert but I love this opera.
I wonder why nobody is able nowadays to write music that is nearly as good as the wonderful music of Mozart.
Real genius is rare!
I think it's not only a matter of being able to - but very often one of recognizing a new and like composer. Perhaps here you might find what you are looking for: th-cam.com/video/XImlSPLi3H0/w-d-xo.html
Just give it a try. :)
Excelente montaje de la opera maestra del gran genio de W. A. Mozart. Una opera que está a la altura de grandeza y belleza de las otras como Don Giovanni, La Flauta Mágica y La Nozze di Figaro. Kunde interpreta el rol de Titus divinamente. Bravo!!
I'm not an opera aficianado, but this is the most gorgeous and majestic music I've ever heard. Truly sublime and near the very end of his life.
The overture and the clarinet obligato arias are outstanding but this as a whole is not up to Mozart's highest standards.
La interpretación de Tito en la voz del maestro Gregory Kunde estuvo magistral "outstanding" digno de un gran representante que ha dejado huella indeleble entre los mejores cantantes líricos de la actualidad. Bravo!!!
Yes, there are quite a few live recordings of this Mozart's last masterpiece opera, but for me, Sir Colin Davis stands out as the best conductor of this majestic and grand opera. He knew exactly what Mozart wanted, and how should his style and and tempo should be, and Sir Colin Davis is the master of Mozart that no other conductor can beat, other than Karl Böhm, my other best-loved of Mozart's music. Sir Colin Davis, you will be missed by Classical music lovers.
Gorgeous singing from Sarah Connolly and Anna Stephany in particular.
what an eye-pleasing, beautiful production
So hard to perform and for that reason so rarely. This truly is a masterpiece. Mozart proves one more time that he was a genius of composing. Nothing but praise words for this performance. Beautiful. One of the most beautiful operas of all time in my opinion. Just beautiful, nothing more to say.
I guess it is kind of off topic but do anyone know of a good site to stream new tv shows online ?
@James Ryland Flixportal =)
@Emory Saint thank you, I signed up and it seems to work :D I really appreciate it !!
@James Ryland glad I could help =)
i can not imagine a world without mozart. it would leave such a gaping hole in the universe.
Entièrement d'accord avec ta réflexion. La musique de Mozart m'habite au quotidien, et je ne peux imaginer le monde sans ses chefs d'oeuvre. Cet ultime opéra est sublime, une merveille, Merci !
@@nathaliechatelain5293 La vida ha valido la pena vivirla... para escuchar a MOZART.
_If only there were singers up to his magnificent music._
_The mezzo-sopranos actually look like guys._
I think and feel the same!
They're supposed to look like mein. It's the horrible wig, I think.
Les dernières minutes sont particulièrement sublimes.
Definetly one of the best operas
I cannot imagine a more perfect Sesto than Sarah Connolly.
She was wonderful in Giulio Caesare in Egitto.
Amazing! Beautiful!
How lovely to have the whole production. Very fine it is. Thank you.
+Barbara Northwood Like EVERY single production - of about eight - of David McVicar's I've ever seen. His Entfuhrung at Glyndebourne this year was if anything even more beautiful and , as where, brought a beautiful but slightly flawed work searingly and meaningfully to life.
+Richard Cumming-Bruce Like you I admire his work very much although I've not seen as many of his productions as yourself and then only through the good offices of You Tube. He has the happy knack of finding subtle nuances of meaning not obvious in the text. I envy your seeing the current production. I read that it is excellent.
+Barbara Northwood Thanks Barbara. You might like to know that you can see it, much more cheaply than at the festival, on the Glyndebourne Tour this autumn. Even if its full, you can nearly always get returns to Glyndebourne if you are organised about ringing the (exceptionally helpful) Box Office. He more than just finds nuances - he brings ALL the characters totally to life in a way that I've never seen in Entfuhrung before, and the sets are, as ever, ravishing. I've also seen Aida, Carmen, Clemenza, Figaro, Giulio Cesare, Rigoletto, Tosca, Trovatore and Zauberflote of his -and I'd recommend each and every one of them. To me, there is contest as to who is the finest opera producer of his generation!
Remarquable difficile de faire mieux bravo merci pour le partage.
Thank you so much for uploading this performance.
The Operatic Impresario for the Bohemian National Theatre in Prague (Domenico Guardasoni) had originally approach’d Antonio Salieri sometime in early July 1791 with a Scrittura to compose a festival opera for the Coronation Ceremonies for Leopold II as King of Bohemia on 6 September 1791-but he had taken over the responsibilities for the Vienna National Theatre for his student Josef Weigl with whom he was preparing a festival Cantata to be perform’d at Esterhaza that same week - and turn’d Guardasoni down no less than three times before finally Guardasoni turn’d to Mozart having doubl’d the remuneration to 200 ducats & 50 ducats extra for traveling expenses sometime on Friday the 22nd of July 1791 - leaving only 45 days with which to get a workable Libretto (trimming Metastasio’s wooden 3-Act opera La Clemenza di Tito down to two acts &c.) and compose the music and rehearse the ensemble in time for the premiere ...
What made matters worse was the fact that none of the parts had been cast yet-and M. typically wrote specific music for specific singers in the solo arias-
In fact he was not presented with a list of singers until Thursday 18 August (18 days before the final dress rehearsal) which meant he had to compose all the concerted pieces (duetti, trios, quartets, quintets, marches, the choruses & the two finales first & only after he knew the ranges of the singers would he tackle the 10 or so solo-arias (which meant from 18 August through 5 September 1791 he was writing aria after aria after aria after aria at breakneck speed..)
To save time, the job of composing the 15 or so secci recitativi was handed over to his student copyist Franz Xaver Suessmayr (1763-1801) -but it is clear that (after scholars had review’d them closely for lapses in style) thst Mozart must have felt the need to re-write half a dozen of them...
In Act II the grand concert aria (‘Non piu di fiori’-with an obbligato corno di bassetto part) had already existed since 1789 (it was originally written for Josepha Dussek) and could be re-us’d with a new accompagnato recitativo introduction to fit into the plot of the new opera-evidently another time-saving device ...
Had M. liv’d to put the finishing touches on the score, he surely would have upgraded some of Suessmayr’s more prosaic secci recitativi for a series of elaborate & far more dramatic accompagnati (as he had done previously in his 1785 Vienna revival of Idomoneo from 1781) and probably would have added a few more choruses & marches to offset some of the weaknesses in the plot-but we must remain satisfied with what he manag’d to set in writing during those frantic 45 days of white-hot creation -
Thankfully M. had several unus’d drafts from Die Zauberflote (April through July 1791) to re-work for Tito (the Magic Flute was more or less finish’d by the end of July except for the Overture & the March of the Priests which-according to his Verzeichnuess Catalogue-were added late September 1791)-
Apparently it was from the same fund of unus’d sketch material that M. also resorted to re-using/completing/re-adapting in the ‘Little Masonic Cantata’ of early November 1791-that is before 19 November 1791 when his final illness began to materialise (evidently a streptococcal infection which typically always trigger’d his latent Rheumatic Fever symptoms including fainting fits, high fever & severe edema swelling of hands & feet)-at one point he seems to have injured his head in a blackout seizure causing an internal hematoma (‘Una deposita alla testa’) whose bleeding could not be controll’d according to Dr Nikolaus Klosset of the Vienna National Hospital ...
We see however in The Magic Flute, La Clemenza di Tito & the Requiem the music of a man who seem’d to be relishing his latest successes & was evidently in the throes of introducing a series of wholly new directions for his music - which had he liv’d would have revolutionis’d the musical scene in Europe far earlier than Beethoven’s later impacts after 1804...
Very napoleonic, those martial arts soldiers. A bit of Crouching Tiger meets War and Peace.
+Alex Daniel Crouching Tito Hidden Sesto.
Very touching and interesting!
Setting the opera into the napoleonic periode makes so much sense if you think about it
EXTRAORDINARIA ... inmortaliza aun mas a mi amado MOZART ..!! Viva la Clemencia di tito... desde ARGENTINA SALUDOS..!!
Yes! Absolutely IMPERIAL. My first La Clemenza di Tito's DVD, the Glyndebourne version, immediately fell in love with this opera too, besides all my other favorites, all of Mozart's operas of course. He brought a little bit of heaven onto earth. I simply adore Mozart.
Thank you!
Mozart uses the clarinets quiet often in this opera
Sarah is amazing as Sesto . She also looks a lot like Brahms here !
#OTD (30 September) in 1791 the last and most successful performance of _Tito_ (‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’-W.A.M.) 💐💐💐
2:18:58 Sestetto con coro - Finale (Tu, è ver, m'assolvi, Augusto - Il vero pentimento - Oh generoso! oh grande! - Eterni Dei, vegliate - Troncate, eterni Dei)
Premiered on this day (6 September) in 1791 🌹🌹🌹
gracias por subir el video
Maravilloso
its a beautiful production: the acting, sets, costumes and though the other casting is wonderful, I must agree that Tito's voice is nice, not completely up to snuff. Lyric Opera Chicago did this production with Joyce DiDonato as Sesto and Matthew Polenzani in his role debut of Tito and though I only listened on the radio, he sounded perfect!
Sublime!
DIEU ACCUEILLEZ DANS VOTRE PARADIS SIR COLIN DAVIS!!!❤🌿🇻🇦✝️🇲🇬🌿❤🎼🎶🎶🎶🎻🎶🎶🎶🎼🇬🇧🌿💐🧑🚀🥰🧸😌❤
22:28, coro p. 42
24:05, rec. Tito
52:20, vedrai, Tito , vedrai
53:02, vengo, apsettate
53:34, p. 117
55:44, Recitativo Sesto, Oh dei, che smania è questa
59:27, Quintetto con coro
1:00:50, p. 138
1:01:10, p. 139
1:01:27, Chi per pietà, Vitellia, scena 13
1:01:41, p. 141
1:02:47, recitativo p. 145
1:03:06, la nobil alma, p. 146
1:03:45, n9n ti palesar p. 148
1:07:02, Secondo atto, rec. p. 158
1:11:47, rec. p. 168
1:14:50, p. 174
1:16:06, p. 176
1:19:15, p. 185
1:35:30, p. 217
1:37:05, p. 219
1:37:25, p. 221
1:37:38, p. 222
1:37:59, p. 223
1:43:17, Ah se in questo
2:14:00, coro p. 294
2:15:36, p. 300 recitativo
2:20:45, p. 312
2:21:35, p. 318
Je crois que c'est une des meilleures représentations de cet opéra, puisque son tempo est optimal.
#OTD (30 September) in 1791 the last and most successful performance of _Tito_: ‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’ (W.A.M.) 💐💐💐
kunde mi sembra, nel suo sottile dosaggio di idealità ed ironia, un Tito perfetto!
Ccugfu
Y u
XU
X7ucgufy
Ufuyxuuyutuf7
Premiered #otd in 1791 🌹🌹🌹
💞🌸🤍🌿🇻🇦✝️🇲🇬🌿🤍🌸💞😇🌸💐🥰💮💞🤍🌿🥲🌸🌿😌🌸💮💞🪅🦁🌿💞💒🦊🌿🌸💞🇻🇦💮🇻🇦💞🇻🇦💞🇻🇦💞🇻🇦💞🇻🇦🌿🌸💐🤍💮🙋♂️
Pizza and Mozart and the day is saved
Del più sublime soglio 27:05
Del più sublime SOGLIO...:-)
1:53:46 Se all'impero (con l'introduzione)
38:37 Ah, se fosse intorno al trono
32:12 Ah, perdona al primo affetto
1:18:47 Ah, grazie si rendano
1:54:06 Se all' impero
DIEU vous protège cher Juan TELLO💮🥰💐🌿,Vous et toute votre famille🤍🌸💞 !!!TH-camur franck 🙋♂️de Paris (France 🇨🇵)
Servilia is sung by the Algerian soprano Amel Brahim Djelloul, not Simona Mihai.
bravissima
19:53 Marcia
2:00:50 S'altro che la crime
1:23:59 Tardi s'avvede d'un tradimento
00:12:59
00:18:56
00:22:14
00:27:00
00:32:10
00:40:00
00:45:16
00:55:30
01:03:00
01:07:00
01:18:40
01:24:00
01:27:00
01:35:00
01:38:00
01:43:49
01:53:51
02:00:51
02:05:20
02:08:00
02:13:11
02:21:00
22:05 Serbate, oh Dei custodi
45:17 Parto, ma tu, ben mio
오페라 황제 티토의 자비
2:20:22
2:13:02 Che del ciel, che degli Dei
2:16:57 Ma che giorno è mai questo? (Tito - Recitativo accompagnato)
Thank you so much, it is a beautiful production, and good female singers. I didn't like Tito and Publio.
doesn't matter!!! i like Tito!!!
I completely agree with Cesar. Kunde thinks he is singing Wagner...
@@zauber620 Wagner or Meyerbeer (who was born one day before the premiere)? 😉
e no final, Tito merecia uma esposa melhor...
Having brilliantly fused music and drama in Figaro and Don Giovanni, why did Mozart retreat to older, more static forms such as opera seria and Singspiel? Was it a conscious choice or just the way commissions presented themselves?
It is because it was commission to celebrate a coronation. A conservative style to promote an antiquated form of governance.
He was in need of money and accepted this commission.
A commission and he created a masterpiece. Of course, I adore baroque opera serie, especially Handel, so I have a preference for it.
I consider Don Giovanni the best of the DaPonte operas.
I dislike this mania for 'dramatized' overtures in opera productions.
The men standing there added nothing. The 'curtain' going up on a production
should be a transition, an entering-into-the-story, a surprise. ....I just want to enjoy the overture by itself.......
They performed in the spirit of the composer and the fashion of the era. This is how Mozart wanted it.
Overtures in Mozart's day were often accompanied by stage action. Dramatic treatises of the time give quite specific instructions as to what the singers should do during the overture, and what sort of dramatic action should be portrayed therein. This is by no means a modern-day innovation.
The problem with the Tito (Gregory Kunde) is that he has rather shredded his top register with reaching a high F's (above the tenor high C) in full voice too often.It's not that he is bad,just unsatisfactory,and now that he is (here) 57 all that damage is showing(and sounding). Sad,because when he was younger he had a wonderful voice,but went up the path of repetetive high notes and has paid for it.
A Paradox qlp
Terrible runs from Mr Kunde. And very throaty sound.
#OTD (30 September) in 1791 the last and most successful performance of _Tito_ (‘Cries of “Bravo!” What a miracle for Bohemia! But indeed I did my very best’-W.A.M.) 💐💐💐
1:34:30
1:40:39