- Opera & Ballet
- For Companies
- Support the Theatre
- Box office
La clemenza di Tito
Teatro Regio, Friday 16 May 2008 - Sunday 25 May 2008
price 8,00 €
price with the carnet 5,50 €
«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»…
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.
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’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’...