Mozart // La clemenza di Tito
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- Опубліковано 23 бер 2021
- This is the whole recording of the live stream of W. A. Mozart's opera La clemenza di Tito in Grieghallen in Bergen 15th of March 2021, with six soloists, Edvard Grieg Kor and Edward Gardner conducting the Bergen Philharmonic Orchestra (see full credits below.)
You can choose between English and Norwegian subtitles in Settings (Closed Captions).
This opera has profound relevance to current times, and its miraculous music tells a powerful story. Stage director Rodula Gaitanou explains:
La clemenza di Tito could not be more pertinent: Who is the leader we want to have in times of crisis? Does power bring people together or isolate? Can we forgive without forgetting?
All these questions seemed relevant a year ago when we were in rehearsals to bring to life Mozart's masterpiece. But now, after a pandemic has caused chaos, loss, and change, it seems that the contemporary parallels we can draw are striking.
We are determined to connect with you, to bring this piece to you, to make art for you. The show is not going to be what we had envisaged initially. The production has been re-thought and redesigned to be able to accommodate safety protocols. It's an abstract rendition of the essence of the piece. It's the naked version of it. Deprived of a specific world, the drama focuses on isolation and broken relationships in both the private and public realms, on all of us humans being on the edge of a personal apocalyptic moment.
Mozart's work is inspiring. There is light at the end of the tunnel, there is hope both in humanity and in the spirit of community. All of us together, we break and we build again, we persevere and survive, we love in isolation and we come together in creation. We celebrate humanity and we look forward to joyful communions. Soon, together.
Wolfgang Amadeus Mozart / Music
Caterino Mazzolà, based on Pietro Metastasio / Libretto
Bergen Philharmonic Orchestra
Edvard Grieg Kor and guests
A new production by Bergen National Opera
Presented by Bergen National Opera in collaboration with Bergen Philharmonic Orchestra and Edvard Grieg Kor
CREATIVE TEAM
Mary Miller / General and Artistic Director
Rodula Gaitanou / Stage Director
Edward Gardner / Conductor
Cordelia Chisholm / Costume Designer
Simon Corder / Lighting Designer
Ivar Skjørestad / Lighting Designer Associate
Håkon Matti Skrede / Chorus Master
CAST
Bror Magnus Tødenes / Tito
Beate Mordal / Vitellia
Adrian Angelico / Sesto
Ingeborg Gillebo / Annio
Frøy Hovland Holtbakk / Servilia
Christian Valle / Publio
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Website: bno.no/
Bergen Nasjonale Opera (Norway) presents world-class opera, from fully staged operas in Grieghallen, to festivals and concerts. BNO’s major collaborator is Bergen Philharmonic Orchestra, one of the world’s oldest orchestras. BNO is working with highly imaginative creative teams and international acclaimed singers.
#mozart #laclemenzaditito #livestreamopera
Copyright @ Bergen Nasjonale Opera
E' un opera meravigliosa del grandissimo Mozart, e' sono contento che sia stata riscoperta a livello mondiale.
Wonderful performances under very difficult conditions. It's true that much as I enjoyed the Da Ponte collaborations with Mozart, his two opera serie speak to my soul. Some of the ensemble pieces have a mass like quality to them.
I love the Baroque and Classical eras the best. The romantic composers, especially Wagner took themselves much too seriously.
Outstanding performance! One of Mozart's best operas. Unconditional love and friendship. Envy, vengeance, desire, loyalty, repentance total absolution all in one opera. Impossible to surpass.
Few think this is one of Mozart's best operas. It seems in fact a bit of a hack job. Nevertheless it does have its great moments such as the arias using clarinet obligato.
Such an underrated masterpiece!
This recording of an exquisite performance and production is the most wonderful gift from the Bergen Nasjonale Opera.
Toda la producción excelente, músicos y cantantes, pero la actuación y voz de Beate Mordal son superlativas!
¡Qué maravilla!
Thank you Danke. Spasiba ❤
Thank you for uploading such a great performance that proves how powerful can be both music and human drive to perfection despite all obstacles. All singers were excellent and congratulations to the director's approach.
La clemenza di Tito , es de Mozart , es .........beautiful ❤
I loved this performance, thanks for this gift.
Gorgeous voices and such accomplished, committed singing and performance. Astonishing!
Wonderful.
Bravo! Great cast!
Niemetschek’s early Biography of W. A. Mozart states that ‘the job of scribbling out the secci recitativi in Tito was handed over to Franz Suessmayr in the interests of saving much need time’ -he was the copyist-student of Mozart in 1791 (who was describ’d by Constanza Mozart years later as someone who couldn’t even compose his way out of a paper bag...) whose work on the score seems to have been ‘sternly corrected’ in places by Mozart himself - and to think he was given the job of completing the Requiem fragment from Sketches in Jan 1792-but the fact that Mozart himself was only given the scrittura to compose this Opera from start to finish on 22 July 1791 for a plann’d premiere on 6 Sept 1791 meant that extreme measures were taken - with only 45 days at his disposal to have the old ‘wooden’ Libretto of 1734 condens’d from 3 Acts to 2-and to have to compose music ‘blindly’ for a cast that had not yet been hired - in fact the first 3 movements were written for soprano & tenor & tenor & basso (natura voce) before it was told (7 Aug 1791) that the part of Sesto was going to be sung by a castrato - then on the 11th that Annio’s part was also going to be sung by a trouser-roled female soprano voice - so that M. was not appris’d of the identities of the entire cast until 18 days before the premiere - which involv’d a lot of painful re-writing of much of what was already sketch’d out for these two characters by 18 August 1791 ...
Mozart however had (thankfully) by this time already sketch’d the two finales (vocal parts & figur’d Bassline with Wind parts & first violin only inserted here & there throughout where it carried forward the vocal line) and the bravura aria of Vitellia in Act 2 (non piu di fiore) was re-us’d from an old concert aria written for Josepha Düsseck in 1789)-and the marches & vocal ensembles (duetti, trios, quartets & quintets & accompagnati recitativi) were all sketched out in vocal parts & Bassline by 18 August 1791 so all that was left to do would be to supply 10 solo arias - one compos’d right after another then another then another -quite a challenge even for a Mozart ...
Had he liv’d to put the finishing touches on the score as originally conceiv’d he would have transform’d at least half a dozen of Suessmayr’s silly secci recitativi into ‘extended recitativi accompagnati’ & added another vocal quartet and a quintet & possibly a few more choruses - but we’re very grateful to have what we have - and must content ourselves with what has surviv’d in writing from his immortal pen down to our present day...
I read a biography of Mozart by Alfred Burgartz just now and he says that offer from Prague was intentionally delayed in Wien so that Wolfi had only 18 days for composing and rehearsing the whole opera….
Nah - I personally cannot imagine that something like this could be even possible…🤔
Awesome 👍🏾❤so very well done 👌🏾
I sannhet en fabelaktig kveld. I denne oppføringen av Clemenza di Tito stemte absolutt alt: sangernes sang og skuespilleri, orkesterets spill og korets sang, scenografien - og den som oversatte librettoen har også gjort en briljant jobb. Bravo, bravo, bravissimo. Da capo.
Well staged given the circumstances and an excellent performance of Mozart's last opera.
Благодарю авторов сайта за возможность слушать оперу с субтитрами. Кроме того, легче слушать и воспринимать сюжет оперы после прочтения первоисточника - трагедии П.Корнеля Цинна". В конце 18 века образованный слушатель знал её и легко следил за перипетиями.
Опера была написана в кровавые годы Французской революции. Моцарта тревожило будущее его "революционной" оперы о Фигаро, где аристократу Альмавиве досталось на орехи. В этих условиях, ради "реабилитации", он соглашается на музыкальное прославление нового богемского императора Леопольда. Но гораздо явственней тут намёк на Людовика 16, который, испугавшись развития событий в Париже, отказался от абсолютизма и принял Конституцию. Это и было "милосердие Людовика", о котором думал Моцарт, работая над музыкой. Правда, через 2 года Людовик был казнён на гильотине, но это было уже после Моцарта. В опере есть мелодичные арии и ансамбли, хотя нет никакого сравнения с "Дон Жуаном" и "Фигаро"! В наше время такой сюжет кажется не слишком "оперным", весьма абстрактным. Без субтитров мало смысла его слушать.
Откуда ты взял этот бред? Моцарту было пох на французскую резолюцию.
@@bukleuh Блатной! Что ты делаешь на этом сайте?
#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.) 💐💐💐
すばらしい「ティト」。モーツァルトの最高傑作のひとつなのを発見した思い。演奏の質の高さと秀逸さが表われている。【Papageno】
#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.) 💐💐💐
There was an Emperor Tito (Titus) who ruled from 79 A.D. to 81 AD. He was emperor during the 79 A.D. Vesuvius eruption which destroyed both Pompeii and Herculium. Also during a fire in A.D. 80. Some believe he died by being poisoned by his brother Domitian, other say natural causes. Despite his short reign, he is considered a good emperor.
"Missa solemnis" in D minor - Vincenzo Righini (1756-1812) - for the coronation of Holy Roman Emperor Leopold II (9. 10. 1790., Frankfurt). "La clemenza di Tito" - The premiere took place on 6.09.1791., in the Gräflich Nostitz National Theater in Prague on the occasion of the coronation of Emperor Leopold II as King of Bohemia, But that opera was not commissioned by the court Leopold II - it was commissioned by aristocrats from Bohemia; On July 8th, the Bohemian estates agreed with Domenico Guardasoni, the impresario of the Gräflich Nostitz National Theater, that the opera should be composed by a famous master (“da un cellebre Maestro”) - Antonio Salieri; After Antonio Salieri turned down the offer due to overwork - Salieri recommended Mozart.
Enérgica y dinámica dirección, en algunos puntos muy pequeños me hubiera gustado algo más de calma pero prefiero eso a las direcciones lentas y pesadas. La orquesta suena bestial y los cantantes igualmente extraordinarios. Una cosa, si escucháis la grabación con cascos podréis oir al director canturrear algunas partes orquestales XD
❤
If you watch this the music doesn't start till 7:30 in.
Fortunately you can also only listen to it.
Premiered #otd in 1791 🌹🌹🌹
Beautiful music. Superb singing. Staging would be better done in concert form than what was done here.
Shame on you for not crediting the solo clarinet and Bassethorn. Superb playing!
37:50 Sesto: Parto
1:52:41 Sesto: Deh per questo
A wonderful and emotional performance! Thank you!!
The lighting is terrible
Feel odd,watching them in modern dress.....I want them to dress in custom.
1:01 "tell a powerful story" ok, i think the opera are political propaganda, anyhow, the opera are one of my favourite operas
またまた、こういう演出？正直飽きました❗️袋小路に入ったオペラの典型のプロダクション。才能あるだけに勿体ない😅
What do you mean, what dead end? What?
No sense of attraction in this production very poor and waste of time to watch
❤