La clemenza di Tito

Monograph

«La clemenza di Tito» secondo Mozart: più sentimenti che politica

by Ernesto Napolitano

[…] In biographies of Mozart, particularly in the part relative to his last year of life, the pages discussing the origin of The Clemency of Titus have long been conditioned by a brief phrase contained in the first biography of Mozart, written by Franz Xaver Niemetschek when he was a professor at a Bohemian lyceum:  «In the middle of August, Mozart went to Prague and in eighteen days wrote The Clemency of Titus, which was performed on 5 September»…

Un ritratto

by Luca del Fra

Apollonian messenger of classicism, pre-romantic standard bearer, foul-mouthed, sublime, infantile, divine, affected, ingenious, excessively erotic, metaphysical, revolutionary, baroque, popular, aristocratic and, after all this, inevitably ambiguous: in the last twenty years, Mozart has become the symbol of classical music and, as happens to legends in a time of consumerism and globalization, taking on all the possible connotations has been reduced to ashes by spontaneous combustion...

Ritorno al passato

by Valeria Pregliasco e Giorgio Rampone

That it took more than two centuries before a not exactly ‘popular’ but in any case very important opera like The Clemency of Titus landed on the stage in Torino is certainly not a trifling fact, at least for anyone interested in the musical history of the city.

Altre note

by Angelo Chiarle

«There is an angel looking down towards the earth from high in the sky, with eyes wide open, his wings entangled in a storm that is propelling him». Paraphrasing Walter Benjamin, Francesco Biamonti uses these words to describe Angelus Novus, enigmatic picture painted by Paul Klee in 1910. But it comes naturally to associate that angel with Mozart...

Segnalibri virtuali: quattro passi nella Rete

by Michele René Mannucci

The price of modernity is making practically every exceptional figure handed down to us by history decline from a legend to a man. On the other hand, it is not by chance that it is precisely in musical historiography that we can still find a small stronghold where, probably thanks to the unbounded love that musicians and musicologists have always had for certain anecdotes in the appendix, there is no historical or scientific rationalism that can resist to the bitter end…

L’argomento
(L’Argument, Synopsis, Die Handlung)

La struttura dell’opera e l’organico strumentale

by Enrico M. Ferrando

The Clemency of Titus is among the last outcomes of the tradition of eighteenth-century opera seria. Its structure is therefore typical of Metastasian drama: a succession of scenes in which the actual musical piece (usually an aria) follows a section of dramatic development hinged on the ‘recitative’...