La clemenza di Tito

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Work data
Title: The mildness of Titus
Original title: La clemenza di Tito
Title page of the libretto, Prague 1791

Title page of the libretto, Prague 1791

Shape: Dramma serio in two acts
Original language: Italian
Music: Wolfgang Amadeus Mozart
Libretto : Caterino Mazzolà (after Pietro Metastasio )
Literary source: Cassius Dio : Roman history,
Suetonius : De vita Caesarum ,
Aurelius Victor : Liber de Caesaribus and Vita ,
Johannes Zonaras : Annalen
Premiere: September 6, 1791
Place of premiere: Graflich Nostitzsches National Theater Prague
Playing time: approx. 2 ¼ hours
Place and time of the action: Rome, AD 79
people
  • Tito Vespasiano ( Titus ), Emperor of Rome, ( tenor )
  • Vitellia, daughter of the previous emperor Vitellio ( soprano )
  • Servilia, sister of Sestus, beloved Annios (soprano)
  • Sesto, Tito's friend, Vitellia's lover (soprano, castrato )
  • Annio, friend of Sestos, lover of Servilias (soprano)
  • Publio, captain of the Praetorians ( bass )
  • Senators , envoys of the subjugated provinces, lictors , praetorians, patricians, people ( chorus )
  • Guards (extras)

La clemenza di Tito (German: Die Milde des Titus ; formerly often called Titus ) is an opera seria ( KV 621, original name: "Dramma serio") in two acts and seven pictures by Wolfgang Amadeus Mozart . The first performance took place on September 6, 1791 in the Count's Nostitz National Theater in Prague on the occasion of Emperor Leopold II's coronation as King of Bohemia .

action

The action of the opera takes place in Rome in 79.

first act

Vitellia's apartments

Scene 1. Vitellia is angry that Emperor Tito , who has usurped the throne of her father Vitellio , wants to marry the “barbarian” Berenice and thus overrides her own rights. She promises her admirer Sesto that she will be his if he avenges her shame and overthrows the emperor. Sesto, who is friends with Tito, overcomes his scruples after some hesitation and accepts the task (No. 1: Duet Vitellia, Sesto: “Come ti piace imponi”).

Scene 2. Sesto's friend Annio reports that Tito has separated from Berenice for reasons of state. Vitellia, who now hopes that Tito might want to marry herself, lets the murder plan fall again. When Sesto accuses her of treating him like a plaything, she rebukes him (No. 2: Arie Vitellia: "Deh se piacer mi vuoi").

Scene 3. Annio asks Sesto for the hand of his sister Servilia and to intercede with Tito (No. 3: Duettino Sesto, Annio: “Deh prendi un dolce amplesso”).

Part of the Roman Forum, splendidly decorated with arches, obelisks and trophies; in the background the exterior of the Capitol and a magnificent street leading to it

Scene 4. In a solemn setting (No. 4: March) senators , envoys from the provinces, lictors , Praetorians and the Roman people pay homage to the emperor (No. 5: chorus: “Serbate, oh Dei custodi”). He received the honorary title of " Father of the Fatherland ". Annio and the Praetorian captain Publio inform Tito about a senate decision to use the tribute payments for a temple dedicated to the emperor. Tito feels honored, but decides to use the money instead for the victims of the last Vesuvius eruption. Sesto now wants to inform Tito about Annio and Servilia's wedding wish. To their dismay, however, Tito interrupts him by saying that he now wants to take a Roman wife and that he has chosen Sesto's sister Servilia. Annio, of all people, should bring her this message (No. 6: Arie Tito: “Del più sublime soglio”).

Scene 5. In agony, Annio Servilia tells that she was chosen to be Empress. He is ready to forego his luck for Tito's sake, but Servilia does not want to part with him under any circumstances (No. 7: Duett Servilia, Annio: “Ah perdona al primo affetto”).

Pleasant place in the imperial chambers on the Palatine

Scene 6. Publio brings Tito a list of critics of the regime against whom measures should be taken. Tito refuses. He can ignore careless criticism, pity mad people, he is grateful for constructive criticism, and he will forgive malice.

Scene 7. Servilia tells Tito about her love for Annio. He praises her for her honesty and approves her (No. 8: Aria Tito: “Ah, se fosse intorno al trono”).

Scene 8. Vitellia again feels ignored by Tito and reacts to Servilia with rejection. This is hiding the latest developments from her.

Scene 9. Vitellia urges Sesto again to take action against the emperor. Although he feels mocked by her, he cannot refuse her. He rushes to the Capitol to instigate an uprising and murder Tito (No. 9: Arie Sesto: “Parto, ma tu ben mio”).

Scene 10. As soon as Sesto is gone, Publio and Annio appear with the news that Tito has now decided to marry Vitellia. Vitellia is shaken because she can no longer stop Sesto (No. 10: Terzett Vitellia, Publio, Annio: "Vengo ... aspettate ...").

Capitol as before

Scene 11. Sesto has strong remorse that he has become a traitor to his friend Tito (No. 11: Accompagnato Sesto: “Oh Dei, che smania è questa”). The Capitol has already gone up in flames. Annio and Servilia meet Sesto, but to her amazement he hurries away. Publio appeared shortly afterwards and reported a conspiracy against the emperor. Everyone is dismayed by the horror of the population (No. 12: quintet with choir: “Deh conservate, oh Dei”).

Scene 12. Vitellia is looking for Sesto.

Scene 13. Sesto returns from the Capitol. He thinks Tito is dead. The others wonder who could be behind the attack. Vitellia can barely prevent Sesto from revealing his guilt. All mourn.

Second act

Pleasant place in the imperial chambers on the Palatine

Scene 1. To Sesto's relief, Annio brings the news that Tito has survived. Sesto confesses his guilt to Annio and wants to leave the country to repent. Annio persuades him to ask Tito for mercy instead (No. 13: Aria Annio: “Torna di Tito a lato”).

Scene 2. Vitellia, who also fears for herself, urges Sesto to flee.

Scene 3. Publio arrives with some guards to arrest Sesto. Sesto tried to assassinate the emperor during the uprising, but accidentally wounded his own accomplice, Lentulo. Lentulo then named Sesto as the originator of the conspiracy.

Scene 4. Sesto allows himself to be led away without revealing Vitellia's complicity. This remains guiltily behind (No. 14: Terzett Vitellia, Sesto, Publio: "Se al volto mai ti senti")

Large audience hall with throne, seats and tables

Scene 5. The people praise fate for the salvation of the emperor (No. 15: chorus: “Ah grazie si rendano”). Tito cannot believe in the betrayal of his friend Sesto. Publio hopes that he is right (No. 16: Arie Publio: “Tardi s'avvede”).

Scene 6. Annio begs Tito for mercy for Sesto.

Scene 7. Publio brings Tito the death sentence to be signed. He confirms that Sesto has confessed and that his guilt is established. Tito sends him and Annio out so that they can think in peace. Annio asks again for gentleness (No. 17: Aria Annio: “Tu fosti tradito”).

Scene 8. Tito is unclean with himself. He starts to sign the judgment, but then resumes it. Finally, he decides to speak to Sesto himself in order to find out the background to his deed (Accompagnato: “Che orror! Che tradimento!”).

Scene 9. Together with Publio, Tito waits impatiently for Sesto to be led in.

Scene 10. In conversation with Sesto, Tito learns nothing new (No. 18: Terzett Sesto, Tito, Publio: “Quello di Tito è il volto!”). Sesto shows strong remorse for his deed, but gives no reasons or accomplices, as he does not want to put Vitellia in danger. Tito gets angry and lets him lead away again. Sesto asks to be allowed to kiss his hand again and reminds him of their previous friendship (No. 19: Rondo Sesto: “Deh per questo istante solo”).

Scene 11. Alone again, Tito reluctantly signs the judgment, but then tears it up.

Scene 12. When Publio returns, Tito only tells him that everything has been decided. They go together to the arena where the sentence is to be carried out. Tito does not feel able to give in to the cruelty demanded by his office (No. 20: Arie Tito: "Se all'impero, amici Dei").

Scene 13. Vitellia learns from Publio that Sesto is about to be executed in the arena. She fears that Sesto betrayed her in his conversation with the emperor.

Scene 14. Annio and Servilia beg Vitellia to use their influence as his future wife on Tito in order to save Sesto. Vitellia concludes that Sesto kept quiet. Servilia hopes that her tears will be successful (No. 21: Arie Servilia: "S'altro che lacrime").

Scene 15. Vitellia admires the love and loyalty of Sesto, who will die for her. She realizes that she must confess her own guilt to Tito if she does not want to suffer from feelings of guilt for the rest of her life (No. 22: Accompagnato Vitellia: “Ecco il punto, oh Vitellia” - No. 23: Rondo Vitellia: “Non più di fiori vaghe catene ").

Magnificent place at the entrance of the large amphitheater, the interior of which is visible behind several arches; the conspirators condemned to death by fire are already in the arena

Scene 16. After a general praise for the ruler (No. 24: chorus: “Che del ciel, che degli Dei”) Tito lets the condemned in. Annio and Servilia plead again for mercy for Sesto.

Scene 17 Vitellia rushes in breathless, kneels down in front of the emperor and confesses that she herself instigated Sesto to betray him because she felt neglected and thirsted for revenge. Tito is very disappointed. Just as he wanted to pardon a criminal, he had to find another one (No. 25: Accompagnato Tito: “Ma che giorno è mai questo?”). Nevertheless, he remains true to himself: He releases Sesto, Lentulo and the other conspirators. Everyone praised his generosity (No. 26: Sextet with choir: “Tu, è ver, m'assolvi Augusto”).

layout

The majority of the arias and ensemble movements are kept brief and, with simple, almost classicistic means, aimed at interpreting the respective affects . In contrast, the few great arias stand out in particular: the duet Vitellia / Sesto (No. 1), the first and last arias by Vitellia (No. 2 and No. 23) and Sesto (No. 9 and No. 19) as well Tito's final aria (No. 20) are virtuoso and complex (two of them are rondos ) and thus also place the main emphasis on these three main characters. In contrast to the traditional form of the opera seria, there are as many ensemble movements as there are arias. The latter, however, are still designed as exit arias. The separation between action and reflection also remains.

The music of the overture has no thematic connection with the opera itself. Occasionally it was interpreted as a dramatic argument based on the principles of Christoph Willibald Gluck and essentially corresponds to a large-scale sonata form in which Mozart reversed the order of the two themes in the recapitulation.

The popular character of the two duets in the first act is reminiscent of the Magic Flute . The trios contain buffo elements. The first finale acts like a link between Gluck's style and that of the 19th century. Bars 17–24 modulate in an unusual way from E flat major to G flat major. There's an off-stage choir and tremolo effects.

orchestra

According to the New Mozart Edition , the orchestra provides the following instruments:

Mozart uses a solo instrument in two arias: a basset clarinet in Sesto's aria Parto ma tu ben mio (No. 9), and a basset horn in Vitellia's aria Non più di fiori (No. 23).

Music numbers

The opera consists of an overture and 26 musical numbers linked by secco and accompaniment recitatives . The music numbers are listed in the New Mozart Edition as follows:

  • Overture (Allegro)

first act

  • Scene 1. Vitellia, Sesto
    • Recitative: “Ma chè? semper l'istesso "
    • No. 1: Duet (Vitellia, Sesto): "Come ti piace imponi" (Andante - Allegro)
  • Scene 2. Annio, Vitellia, Sesto
    • Recitative: "Amico, il passo affretta"
    • No. 2: Aria (Vitellia) "Deh se piacer mi vuoi" (Larghetto - Allegro)
  • Scene 3. Annio, Sesto
    • Recitative: "Amico, ecco il momento"
    • No. 3: Duettino (Sesto, Annio): "Deh prendi un dolce amplesso" (Andante)
  • Scene 4. Choir, Publio, Annio, Tito, Sesto
    • No. 4: March. Maestoso
    • No. 5: Choir: "Serbate, oh Dei custodi" (Allegro)
    • Recitative: "Te della patria il Padre"
    • March (repetition of No. 4). Maestoso
    • Recitative: "Adesso, oh Sesto, parla per me"
    • No. 6: Aria (Tito): "Del più sublime soglio" (Andante)
  • Scene 5. Annio, Servilia
    • Recitative: "Non ci pentiam"
    • No. 7: Duet (Servilia, Annio): "Ah perdona al primo affetto"
  • Scene 6. Tito, Publio
    • Recitative: "Che mi rechi in quel foglio?"
  • Scene 7. Tito, Publio, Servilia
    • Recitative: "Di Tito al piè ..."
    • No. 8: Aria (Tito): "Ah, se fosse intorno al trono" (Allegro)
  • Scene 8. Servilia, Vitellia
    • Recitative: "Felice me!"
  • Scene 9. Vitellia, Sesto
    • Recitative: "Ancora mi schernisce?"
    • No. 9: Aria (Sesto): "Parto, ma tu ben mio" (Adagio - Allegro - Allegro assai)
  • Scene 10. Vitellia, Publio, Annio
    • Recitative: "Vedrai, Tito, vedrai"
    • No. 10: Terzett (Vitellia, Publio, Annio): "Vengo ... aspettate ..." (Allegro)
  • Scene 11-13. Sesto, Annio, Servilia, Publio, Vitellia
    • No. 11: Accompagnato (Sesto): "Oh Dei, che smania è questa" (Allegro assai - Andante - Tempo primo)
    • No. 12: Quintet with choir (Vitellia, Servilia, Sesto, Annio, Publio, choir): "Deh conservate, oh Dei" (Allegro - recitative - andante - recitative - andante)

Second act

  • Scene 1. Annio, Sesto
    • Recitative: "Sesto, come tu credi"
    • No. 13: Aria (Annio): "Torna di Tito a lato" (Allegretto)
  • Scene 2. Sesto, Vitellia
    • Recitative: "Partir deggio, o restar?"
  • Scene 3. Publio, Sesto, Vitellia
    • Recitative: “Sesto! Che chiedi? "
  • Scene 4. Publio, Sesto, Vitellia
    • No. 14: Trio (Vitellia, Sesto, Publio): "Se al volto mai ti senti" (Andantino - Allegretto)
  • Scene 5. Tito, Publio, patrician, praetorian, people
    • No. 15: Choir (Tito, choir): "Ah grazie si rendano" ([Andante])
    • Recitative: "Già de 'pubblici giuochi"
    • No. 16: Aria (Publio): "Tardi s'avvede" (Allegretto)
  • Scene 6-7. Tito, Annio, Publio
    • Recitative: "No, so scellerato"
    • No. 17: Aria (Annio): "Tu fosti tradito" (Andante)
  • Scene 8. Tito
    • Accompagnato: “Che orror! che tradimento! "(Allegro)
  • Scene 9. Tito, Publio
    • Recitative: "Ma, Publio, ancora Sesto non viene?"
  • Scene 10. Tito, Publio, Sesto
    • No. 18: Trio (Sesto, Tito, Publio): "(Quello di Tito è il volto!)" (Larghetto - Allegro)
    • Recitative: "Eppur mi fa pietà"
    • No. 19: Rondo (Sesto): "Deh per questo istante solo"
  • Scene 11. Tito
    • Recitative: "Ove s'intese mai"
  • Scene 12. Tito, Publio
    • Recitative: “Publio. Cesare. Andiamo "
    • No. 20: Aria (Tito): "Se all'impero, amici Dei" (Allegro - Andantino - Primo tempo)
  • Scene 13. Vitellia, Publio
    • Recitative: "Publio, ascolta!"
  • Scene 14. Vitellia, Servilia, Annio
    • Recitative: "Non giova lusingarsi"
    • No. 21: Aria (Servilia): "S'altro che lacrime" (Tempo di Minuetto)
  • Scene 15. Vitellia
    • No. 22: Accompagnato (Vitellia): "Ecco il punto, oh Vitellia" (Allegro)
    • No. 23: Rondo (Vitellia): "Non più di fiori vaghe catene" (Rondo. Larghetto)
  • Scene 16. Lictors, senators, patricians, praetorians, Tito, Annio, Servilia
    • No. 24: Choir: "Che del ciel, che degli Dei" (Andante maestoso)
    • Recitative: "Pria che principio"
  • Scene 17. Tito, Publio, Sesto, Liktoren, Annio, Servilia, Vitellia.
    • Recitative: "Sesto, de 'tuoi delitti"
    • No. 25: Accompagnato (Tito): "Ma che giorno è mai questo?" (Allegro)
    • No. 26: Sextet with choir: "Tu, è ver, m'assolvi Augusto"

Work history

Mozart composed his opera La clemenza di Tito on the occasion of Emperor Leopold II's coronation as King of Bohemia on September 6, 1791 in Prague. The Bohemian estates agreed on July 8th with Domenico Guardasoni , the impresario of the Count's Nostitz National Theater , that the coronation opera should be composed by a famous master (“da un cellebre maestro”). After Antonio Salieri had turned down the offer due to excessive workload, Mozart received the contract. Guardasoni had the choice between two motifs proposed by the Bohemian castle count Heinrich Franz von Rottenhan . The “Suggetto del Tito di Metastasio” was intended as an emergency solution in the event of a lack of time. Guardasoni then traveled to Vienna, which he reached on July 14th. There he contacted Mozart and the librettist Caterino Mazzolà . In May the latter had taken over the duties of the imperial court poet in place of the dismissed Lorenzo Da Ponte . Guardasoni then went to Italy to recruit the contractually agreed first-rate singers.

Pietro Metastasio's libretto La clemenza di Tito , whose first setting by Antonio Caldara had already been played in Vienna in 1734 and, in his praise of the benevolent ruler, seemed appropriate for Leopold II , was chosen as a text template . It was hoped that Leopold would cautiously continue the reforms of his brother and predecessor Joseph II. The libretto had already been set to music more than 40 times. Mazzolà revised the text, which is over 50 years old, presumably in collaboration with Mozart. The second of the original three acts has been almost completely removed and its opening scene has been redesigned as the final quintet of the first act. Only seven arias and one choir remained untouched. Mazzolà added three duets and three trios. In his catalog raisonné Mozart noted that he had made a “true opera” out of the text (“Ridotta a vera opera dal signor Mazzolà”). Overall, the reorganization made the piece more clear and dramatic. The musicologist Dietmar Holland wrote: “The discursive, strictly rationalistic elements of the original libretto were strongly pushed back in favor of the emotional ones; Mozart's Titus became a story of renunciation. "

Mozart created the composition of Tito almost at the same time as his Magic Flute . According to a popular legend, it only took him 18 days to complete the entire composition. However, this is not tenable. With interruptions he was able to work on the work from the end of June to the beginning of September. In total he had about 50 days. However, time was so short that he left the composition of the secco recitatives to his student Franz Xaver Süßmayr . According to the paper research by the musicologist Alan Tyson , Mozart did not compose the music according to the sequence of scenes or actions, but in groups of related music numbers. He started with the two duets and the trio of the first act. It was followed by numbers 3, 5, 6, 15, 18, 19, 20, 24 and 26, then numbers 9, 13, 14, 16 and 17, the second part of number 19, numbers 20, 21 and 22 and the Larghetto section from No. 23. It was only after Mozart's arrival in Prague on August 28 that he composed March No. 4, Tito's Aria No. 8 and the Accompagnato “Che orror! che tradimento ”(II.8) and the overture. Mozart probably wrote the beginning of No. 19 beforehand, although the exact time and occasion are not known.

The world premiere on September 6, 1791 in the Gräflich Nostitzschen National Theater was directed by Mozart himself. The stage decorations for the first three pictures were by Pietro Travaglia. Preisig from Koblenz was responsible for the fourth and probably also the last two pictures. The costumes were specially designed for this production by Cherubino Babbini from Mantua. The tenor Antonio Baglioni sang the title role. He had also sung Don Ottavio at the premiere of Don Giovanni in 1787 . For the young soprano Maria Marchetti-Fantozzi, Vitellia later became a parade role, which she sang in Paris in 1816. The also still young Polish soprano Antonina Miklaszewicz sang Servilia. In 1791 she married Gaetano Campi, the singer of Publio, and was then very successful in Vienna under the name Antonina Campi. For the part of Sesto, the Italian castrated soprano Domenico Bedini was appointed, who traveled to Prague especially for this performance. According to Rudolf Kloiber and Robert Maschka, the role of Annio, which was actually also intended as a castrato role, was performed by the singer Carolina Perini at the premiere. The solo instrumental parts for basset clarinet (No. 9) and basset horn (No. 23) played Anton Stadler , one of Mozart's lodge brothers.

The production was apparently only moderately successful at first. Karl von Zinzendorf described the opera in his diary as a “plus ennuyeux spectacle” (“an extremely boring play”). An alleged quote from Empress Maria Ludovica , who is said to have called the opera “una porcheria tedescha” (“a German mess”), is not supported by contemporary sources. It can be found in Rococo-Bilder , which appeared in 1871, based on the notes of my grandfather by Alfred Meißner , a collection of anecdotes from the cultural and political life in Prague in the late 18th and early 19th centuries. Meißner may have found the expression in the documents of his grandfather August Gottlieb Meißner , who wrote the text of a coronation cantata performed in Prague on September 12, 1791 and would therefore be a credible source. However, other possibilities are also conceivable. The popularity increased with the subsequent performances. According to Stadler, the last performance on September 30th was accepted "with extraordinary applause".

La clemenza di Tito then developed into Mozart's most popular opera and remained so until the 19th century. The “strict simplicity and quiet sublimity” were praised in the sense of classicism and it was placed alongside Goethe's play Torquato Tasso, which had appeared a year earlier . Only a few performances in the 19th century served the original purpose as a courtly festival opera. Mention should be made here of the celebration of the cession of the Rhineland Palatinate regional offices Ladenburg, Bretten and Heidelberg from Bavaria to Baden in 1802, when the work was played in Mannheim and Titus was compared in a spoken epilogue with Margrave Karl Friedrich von Baden . In 1824, a new libretto by Caesar Max Heigel entitled King Garibald was added to the opera for an "allegorical festival" on the 25th anniversary of the accession of Elector Maximilian IV Joseph . 1848 of a Habsburg emperor, was again the coronation of Franz Joseph I played. The opera also remained popular outside of ceremonial purposes. It remained in the standard repertoire until around 1820, but was always freely edited or provided with new texts. In contrast to Mozart's other operas Le nozze di Figaro , Don Giovanni or Così fan tutte , as an opera seria, it was spared an adaptation as a singspiel with spoken dialogues.

After 1820, La clemenza di Tito fell largely into oblivion, until attempts to revive it in the form of various adaptations were made from the end of the 19th century. In this context the versions by Wilhelm Kienzl (Munich 1893), Anton Rudolph (Mannheim 1919), Willy Meckbach (1940) and Hans Curjel / Bernhard Paumgartner (1949, with recitatives from other works by Mozart) should be mentioned. It was not until the 1960s that the work returned permanently to the repertoire. Important productions in the 20th and 21st centuries were:

The composer Manfred Trojahn created a new version of the opera for a production of the Nederlandse Opera Amsterdam in 2002, in which he replaced the secco-recitatives of Süßmayr with orchestral pieces, but left Mozart's music unchanged. He renounced an imitation of Mozart's style, but occasionally let Mozart's sounds shimmer through in tonal fragments.

Recordings

La clemenza di Tito has appeared many times on phonograms. Operadis lists 38 recordings in the period from 1951 to 2008. Therefore, only those recordings that have been particularly distinguished in specialist magazines, opera guides or the like or that are worth mentioning for other reasons are listed below.

Web links

Commons : La clemenza di Tito (Mozart)  - Collection of images, videos and audio files

Individual evidence

  1. a b c d e f g h i j k l m n Ludwig Finscher : La clemenza di Tito. In: Piper's Encyclopedia of Musical Theater . Volume 4: Works. Massine - Piccinni. Piper, Munich / Zurich 1991, ISBN 3-492-02414-9 , pp. 334-341.
  2. a b c d e f Rudolf Kloiber , Robert Maschka: La clemenza di Tito. In: Rudolf Kloiber, Wulf Konold , Robert Maschka: Handbuch der Oper. 9th, expanded, revised edition 2002. Deutscher Taschenbuch Verlag / Bärenreiter, ISBN 3-423-32526-7 , pp. 470–472.
  3. a b c d e f g Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 586-588.
  4. a b c d e f Julian Rushton:  Clemenza di Tito, La. In: Grove Music Online (English; subscription required).
  5. ^ NMA II / 5/20: La clemenza di Tito. Sheet music edition. Giegling, 1970, p. 2.
  6. ^ NMA II / 5/20: La clemenza di Tito. Sheet music edition. Giegling, 1970, p. 3 f. and table of contents .
  7. ^ Julian Rushton: Master Musicians - Mozart. Oxford University Press, 2006, ISBN 978-0-19-518264-4 , doi : 10.1093 / acprof: oso / 9780195182644.001.0001 , p. 212.
  8. ^ Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , p. 484.
  9. a b c d e Dietmar Holland : La clemenza di Tito. In: Attila Csampai , Dietmar Holland : Opera guide. E-book. Rombach, Freiburg im Breisgau 2015, ISBN 978-3-7930-6025-3 , pp. 260-266.
  10. ^ NMA II / 5/20: La clemenza di Tito. Sheet music edition. Giegling, 1970, p. VII.
  11. Walter Brauneis: Who was Mozart's “Signora Antonini” in the Prague premiere of “La clemenza di Tito”? To identify Antonina Miklaszewicz as the interpreter of Servilia in the Coronation Opera on September 6, 1791. Communications from the International Mozarteum Foundation 47, 1999, pp. 32–40. After Daniel Heartz: Mozart, Haydn and Early Beethoven: 1781-1802: 1781-1802. WW Norton & Company, New York / London 2008, ISBN 978-0-393-06634-0 , p. 304.
  12. Joseph Heinz Eibl: “… Una porcheria tedesca?” For the premiere of Mozart's “La clemenza di Tito”. In: Österreichische Musikzeitschrift 31, 1976, pp. 332–333. Quoted from John A. Rice: La clemenza di Tito. Cambridge University Press 1991, ISBN 0-521-36142-7 , p. 165.
  13. ^ Discography on La clemenza di Tito in Operadis.
  14. a b c d e f g h i Wolfgang Amadeus Mozart. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  15. Alan Blyth: Review of the CD by John Eliot Gardiner on Gramophone , 12/1991, accessed on August 12, 2018.
  16. Review of the CD by Andrew Davis on Gramophone , 8/2002, accessed on August 12, 2018.
  17. ^ Prize of the German Record Critics, Best List 2/2006 , accessed on August 13, 2018.
  18. a b Mozart’s La clemenza di Tito - Comparative review of the two best recordings on Gramophone , accessed on August 12, 2018.
  19. ^ Prize of the German Record Critics, Annual Prize 2006 , accessed on August 13, 2018.
  20. Richard Wigmore: Review of the CD by Jérémie Rhorer on Gramophone , 4/2017, accessed on August 12, 2018.
  21. ^ Gerhard Persché: Forza Mozart! “La clemenza di Tito” and “Don Giovanni” as live recordings with Jérémie Rhorer. In: Opernwelt from June 2018, p. 26.