La clemenza di Tito (Metastasio)
| Work data | |
|---|---|
| Title: | La clemenza di Tito |
Third act, scene VI. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Antonio Caldara |
| Libretto : | Pietro Metastasio |
| Literary source: |
Cassius Dio : Roman history, Suetonius : De vita Caesarum , Aurelius Victor : Liber de Caesaribus and Vita , Johannes Zonaras : Annalen |
| Premiere: | November 4, 1734 |
| Place of premiere: | Vienna |
| Place and time of the action: | The part of the Palatine Hill in Rome bordering the Roman marketplace , around the year 80 |
| people | |
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La clemenza di Tito is an opera - libretto in three acts by Pietro Metastasio . It was performed for the first time in the setting by Antonio Caldara on November 4, 1734 to celebrate the name-day of Emperor Charles VI. in Vienna. A later version of the libretto is titled Tito Vespasiano . With around 50 settings, it is one of Metastasio's most popular works.
A German translation of the libretto by Johann Anton Koch appeared in 1769 under the name Die Gütigkeit des Titus in the second volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
The libretto is about the Roman emperor Titus , who succeeded his father Vespasian on the throne that had been wrested from the previous emperor Vitellius .
“According to the unanimous testimony of almost all historians, antiquity knew no better and beloved prince than Titus Vespasianus. One saw with admiration in him the rarest and most gracious gifts of spirit and body. He was particularly distinguished by a natural inclination to goodness and meekness, which quality so much acquired universal love that he was called the joy of the human race. None of this, however, could save him from the pursuit of unfaithfulness. There were people, even among his dearest friends, who were capable of the thought of betraying him. Two young patricians, one of whom he loved tenderly, and showered daily with new benefits, conspired against him. The attack was discovered, the guilty transferred, and sentenced to death by a council. But the meek prince contented himself with reprimanding them in a fatherly way, and with a rare generosity he gave them and their accomplices complete pardon.
The place of the action is that part of the Palatine Hill, which meets the public meeting place of the Romans. "
The following table of contents is based on the libretto of the setting performed in Dresden in 1738 by Johann Adolph Hasse .
first act
The area on the Tiber
Vitellia, the daughter of the former emperor Vitellius , believes that she is rightfully entitled to the Roman throne. However, the current Emperor Tito has no intention of marrying her, and even prefers a foreigner, Berenice , to her . So she persuades her admirer Sesto, a friend of Tito's, to take part in the planned uprising and to take a leading role in it. Sesto only reluctantly agrees. He thinks Tito is innocent and magnanimous, but he can't refuse Vitellia anything. He attached the rebel symbol, a red ribbon, to his coat.
Sesto's friend Annio comes and tells him that the emperor has sent Berenice away to the delight of the Roman people. Annio loves Sesto's sister Servilia and is only waiting for the emperor's approval to marry her.
Atrium of Jupiter Stator , known for the council meeting
Behind it a part of the Roman market, magnificently decorated with triumphal arches, pyramids and symbols of victory. On the side you can see the Palatine Bridge, a large part of the holy street, the extreme part of the Capitol and the magnificent street leading there. In the forecourt are Publius, the Roman councilors and the ambassadors from the conquered lands who have come to pay the annual tribute. Meanwhile, Titus comes from the Capitol, accompanied by a crowd. The servants go before him. The bodyguard follows.
The choir praises Tito as " father of the fatherland " and would like to dedicate a temple to him. The Praetorian captain Publio and Annio also join in. Tito likes to be called a father, but he does not consider himself godlike. He asked them to use the money earmarked for the temple for the victims of the recent eruption of Vesuvius . After sending most of those present away, he informs Sesto and Annio that he would like to take a bride with whom the Romans also agree. Therefore, he chose Sesto's sister Servilia. Although Sesto and Annio are shocked by this, they tell him nothing about Servilia's relationship with Annio. Tito asks Annio to tell her himself, which Annio does. However, Servilia is determined to remain loyal to Annio.
A pleasure house in the imperial castle on the Palatine
Publio brings Tito a list of people who have spoken badly about former emperors and should therefore be punished. Tito thinks that this custom must finally be abolished. Even when Publio points out a person who has insulted Tito himself, he does not find it worth the punishment. The conversation is interrupted by Servilia, who wants to tell Tito something. After Publio leaves, Servilia assures Tito of her gratitude. But she already loves Annio. Tito is happy that someone is finally honest with him and now he no longer wants to marry her, but rather to be a fatherly friend to her. She should tell everyone that he would rather hear painful truths than false flattery.
Vitellia comes to Servilia to pay homage to her as the future empress. However, Servilia does not speak well of her and leaves her by the wayside. Vitellia is offended. She also feels set back by Tito and looks forward to her revenge. Sesto comes to her. To her annoyance, he has still not started the uprising. At her urging, he assures her that she will soon see the Capitol burn and that he himself wants to kill Tito. After he leaves, Publio comes and tells Vitellia that Tito has now chosen her to be his bride. So Vitellia's dream can come true after all. To stop the uprising, she asks Publio to bring Sesto back immediately. Vitellia is overwhelmed with feelings.
Second act
Galleries
The uprising has started. In principle, Sesto is ready to participate. But he has severe remorse. Co-conspirator Lentulo has already set fire to the Capitol. Sesto still hopes to be able to save Tito and sets out to look for him. However, he is stopped by Annio. Servilia and Publio are also added. Annio is worried about Sesto and wants to help him. But because he cannot leave Servilia alone, he asks Publio to take care of her. Publio in turn asks Servilia to go to her apartment and gives her a guard to protect her. He himself has to take care of Vitellia on Tito's orders. Publio praises Tito's prudence, and Servilia worries about Annio.
Sesto reports to Vitellia that the uprising has begun. Tito is also already dead. He did not do it himself, on the contrary, he tried to help him. Another conspirator stabbed Tito from behind and then fled. He then pulled out the dagger and thereby stained his own cloak with blood. Vitellia is now outraged that he participated in the conspiracy. Sesto is deeply confused about her change of heart. Vitellia, however, feels guilty for Tito's death and for the loss of the power she had hoped for as empress.
Sesto is desperate. He draws the sword to kill himself. Annio comes and calls him to Tito. This one had never been hurt. Sesto had mistaken him for someone else. Sesto is relieved. But he doesn't dare to go to Tito because he himself was one of the conspirators. Instead, he wants to leave the country. Annio points out that this is not necessary. Everyone still believes that the fire broke out by accident. Sesto should rather go to Tito and do everything possible to redeem his deeds. Because Sesto's coat is still smeared with blood, the two swap coats.
Gallery decorated with statues in a garden
Servilia tells Tito about the Lentulos conspiracy and asks for forgiveness for another fellow sworn who has already renounced the group. After the arson, Lentulo had already put on imperial clothing and was mistakenly killed by one of the conspirators because he had mistaken him for Tito. She reveals the rebels' secret sign to Tito: a red ribbon on the right shoulder of his coat. Tito is disappointed with the Romans, who seem to hate him for all his good deeds.
Sesto wants to confess his participation in the conspiracy to Tito, but Vitellia arrives in time and prevents it. Annio comes with Sesto's coat and reports that the fire has meanwhile been put out. It is now common knowledge that it was not accidentally erupted. When Tito notices the mark of the conspirators on his coat, Annio is mistaken for one of the participants. Because he does not want to put his friend Sesto in danger, he cannot clear up the misunderstanding. Sesto cannot see it and falls on his feet in front of the emperor. But before he can say anything, Vitellia intervenes and asks Sesto on behalf of Tito to express a gracious judgment on Annio. Tito orders Annio to be interrogated, but would like to await the investigation before making a judgment. Servilia renounces Annio and does not want to hear his explanations. After she leaves, Annio asks Sesto for help. He would like to go to prison for him, but it is unbearable for him to lose his lover.
Vitellia urges Sesto to flee. Because she promises to stand up for Annio, he agrees after some hesitation. However, it is already too late. Lentulo survived and named Sesto as a co-conspirator. Publio comes with the guard to pick him up for interrogation. Vitellia regrets Sesto and feels helpless.
Third act
Locked room with doors, a chair and a table with writing materials
Tito waits with Publio for the result of Sesto's interrogation. He doesn't believe in Sesto's guilt. Publio goes to the council. Annio comes and begs Tito for mercy for Sesto. Publio comes back with the result of the interrogation. Sesto confessed, and the council condemned him and the other conspirators to openly fight wild animals. Tito should now sign the judgment. After Publio and Annio leave, Tito hesitates to sign the death warrant. He has Sesto brought in to see for himself. When Tito asks him the reasons for his betrayal, Sesto bursts into tears and throws himself at his feet. He is aware of all Tito's benefits and asks for his death. Since he cannot bring himself to name his lover Vitellia as the instigator, he cannot give any reasons for his behavior. Tito is indignant and has him taken away again.
Tito is desperate that he will find no reason to save his friend Sesto and that, like so many of his imperial predecessors, he should succumb to cruelty. Finally he makes a decision and tears up the death sentence. After all, the betrayal was only directed against him personally. Let the world reproach him for his good heart, but should not accuse him of cruelty.
Publio comes back to take Tito to the battlefield. Before they leave, Vitellia calls Publio over. He tells her about the council's verdict, but doesn't know the outcome of Sesto's conversation with the emperor. He then follows Tito. Vitellia believes that Sesto has betrayed her and blames herself for not having confessed the truth herself. Servilia comes to her and asks her to beg the emperor for mercy, since she has great influence as his bride. Vitellia concludes from this that Sesto was silent. She is touched by his loyalty and decides to uncover everything herself to save him.
Magnificent square with a view of a large, fully occupied amphitheater
On the battlefield you can already see the prisoners of the conspiracy who were condemned to fight the wild animals. Titus appears. The servants go before him. He is accompanied by councilors and Roman patricians. The bodyguard follows. Then Annius and Servilia come from different sides.
The choir praises the luck that the gods bestowed on Tito. Sesto is led before Tito. Before he can announce his verdict, Vitellia interrupts him. She falls on her knees before him and confesses herself to be the main culprit in the conspiracy. She herself seduced Sesto to participate, and he only acted out of love for her. She had felt belittled by Tito because he had preferred two other women to her. Tito orders Sesto, Lentolo, and everyone else to be released. Although he can no longer marry Vitellia, he does not want to take another bride either, but instead devotes himself to Rome. Vitellia can marry Sesto. At the end of the opera, the choir sings about Tito as the “lap child” of the gods: “The gods protect those here on earth who become like them.”
history
The historical sources of the plot include the 66th book of the Roman history of Cassius Dio , which has come down to us as an excerpt from John Xiphilinos , the biography of Titus in De vita Caesarum by Suetonius , chapters nine and ten from the Liber de Caesaribus and the Chapter 21 from the Vita of Aurelius Victor and the eleventh book of the annals by Johannes Zonaras .
The theme of princely generosity can already be found in Pierre Corneilles Cinna of 1641. The story of Titus' relationship with Berenice is dealt with in two French dramas published in 1670: Bérénice by Jean Racine and Tite et Bérénice by Pierre Corneille. Vitellia's relationship to Tito and Sesto has parallels with that of Hermione to Pyrrhus and Orestes in Racine's tragedy Andromache of 1667.
With Johann Adolph Hasse's first setting under the name Tito Vespasiano , the Teatro Pubblico in Pesaro was opened in 1735. Christoph Willibald Gluck's 1752 version for Naples attracted attention for the aria of Sesto Se mai senti because of its general structure, the independent management of its obbligato lines and the lack of coloratura passages. These elements already point to the aria of Iphigénie O malheureuse Iphigénie in his Iphigénie en Tauride from 1779. Reference should be made to Andrea Bernasconi 's version, written for Munich in 1768, because of the extensive use of accompanied recitatives and the rich orchestral accompaniment. The best-known setting of the libretto, however, comes from Wolfgang Amadeus Mozart (see La clemenza di Tito ). In 1791 he used an arrangement by Caterino Mazzolà for the coronation ceremonies of Emperor Leopold II in Prague.
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1734 | Antonio Caldara | November 4, 1734, court theater | Vienna | to celebrate the name day of Emperor Charles VI. |
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| 1735 | Leonardo Leo | 29th January 1735, Teatro San Giovanni Crisostomo | Venice | also on April 15, 1736 in the Teatro Cocomero in Florence |
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| 1735 | Johann Adolph Hasse | September 24th 1735, Teatro Pubblico | Pesaro | first version, also in June 1736 in Vyškov ; revised on January 17, 1738 in the court theater in Dresden as Die Gütigkeit des Titi ; April 1738 in the Teatro Filarmonico in Verona; on December 8, 1745 in the opera at Gänsemarkt in Hamburg; Carnival 1773 again in the Teatro Filarmonico in Verona |
|
| 1736 | Pietro Vincenzo Chiocchetti | January 14th 1736, Teatro Falcone | Genoa | ||
| 1736 | Francesco Peli | January 29, 1736, court theater | Munich | ||
| 1737 | Francesco Maria Veracini | April 12th 1737, King's Theater on Haymarket | London | Libretto edited by AM Corri | |
| 1737 | Giovanni Francesco Maria Marchi | December 26th 1737, Teatro Regio Ducale | Milan | ||
| 1738 | Giuseppe Arena | December 26th 1738, Teatro Regio | Turin |
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|
| 1742 | anonymous | Carnival 1742, Teatro Molza | Modena | further performances of anonymous settings or pasticci on February 8, 1754 in the Teatro San Samuele in Venice; Carnival 1755 in the Teatro Carolino in Palermo; 1755 in the Teatro de la Santa Cruz in Barcelona; on January 20, 1798 at the Teatro della Pergola in Florence | |
| 1746 | Georg Christoph Wagenseil | October 15, 1746, Burgtheater | Vienna | ||
| 1747 | Francesco Corselli , Francesco Corradini and Giovanni Battista Mele | Carnival 1747, Real Teatro del Buen Retiro | Madrid | first act by Corselli, second act by Corradini, third act by Mele; Libretto translated by Ignacio de Luzán y Suelves | |
| 1747 | Gennaro Manna | Carnival 1747 | Messina | ||
| 1747 | Joseph Anton von Camerloher | July 18, 1747, court theater | Munich | than The goodness of Titus |
|
| 1748 | Carlo Luigi Grua | 1748, court theater | Mannheim | ||
| 1748 | Antonio Gaetano Pampani | February 26th and 27th, 1748, Teatro San Cassiano | Venice |
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| 1749 | Davide Perez | 1749, Teatro San Carlo | Naples | ||
| 1750 | A. Correia | around 1750 | |||
| 1750 | Antonio Caputi | probably in the 1750s | |||
| 1752 | Christoph Willibald Gluck | November 4, 1752, Teatro San Carlo | Naples | ||
| 1753 | Michelangelo Valentini | January 3, 1753, Teatro Formagliari | Bologna | also Carnival 1770 in the Teatro Nazari in Cremona | |
| 1753 | Niccolò Jommelli | August 30, 1753, Ducal Theater | Stuttgart | first version | |
| 1753 | Andrea Adolfati | October 15, 1753, Burgtheater | Vienna | in the same year at the Teatro Falcone in Genoa | |
| 1755 | Antonio Maria Mazzoni | June 6, 1755, Palazzo Ribeira / Ópera do Tejo | Lisbon | ||
| 1757 | Carlo Antonio Cristiani | 1757 | Camerino | ||
| 1757 | Vincenzo Llimitedio Ciampi | Carnival 1757, Teatro San Moisè | Venice | also for Mass 1759 in the Teatro Pubblico in Reggio nell'Emilia | |
| 1757 | Ignaz Holzbauer | November 4, 1757, court theater | Mannheim | Libretto edited by Mattia Verazi | |
| 1759 | Johann Adolph Hasse | January 20, 1759 | Naples | second version | |
| 1760 | Baldassare Galuppi | Carnival 1760, Teatro Regio | Turin | ||
| 1760 | Gioacchino Cocchi | 15th January 1760, King's Theater on Haymarket | London | ||
| 1760 | Giuseppe Scarlatti | January 23, 1760, Teatro San Benedetto | Venice | ||
| 1765 | Niccolò Jommelli | January 6, 1765, Castle Theater | Ludwigsburg | second version; revised on June 6, 1771 by João Cordeiro da Silva in Lisbon; on February 11, 1786 in the court theater in Stuttgart as The Meekness of Titus |
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| 1766 | Carlo Franchi | 1766, Teatro Argentina | Rome | ||
| 1766 | Ignazio Platania | December 27th 1766, Teatro Regio Ducale | Milan | ||
| 1768 | Andrea Bernasconi | Carnival 1768, court theater | Munich | than The goodness of Titus |
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| 1769 | Pasquale Anfossi | January 24th 1769, Teatro Argentina | Rome | also on May 30, 1772 at the Teatro San Carlo in Naples | |
| 1769 | Johann Gottlieb Naumann | February 1, 1769, Small Electoral Court Theater or Grande Elettorale Teatro | Dresden | ||
| 1771 | Giuseppe Sarti | June 1771, Teatro degli Obizzi | Padua | ||
| 1773 | Josef Mysliveček | December 26th 1773, Teatro San Benedetto | Venice | ||
| 1776 | Anton Adam Bachschmid | 1776, court of Raymund Anton von Strasoldo | Eichstatt | ||
| 1779 | Luigi Guido Beltrami | 1779, Collegio Vescovile | Verona | ||
| 1787 | David August from Apell | 1787, electoral court theater | kassel | ||
| 1780 | Luciano Xavier Santos | probably in the 1780s | Dramma per musica in two acts, attribution uncertain | ||
| 1791 |
Wolfgang Amadeus Mozart → La clemenza di Tito |
September 6, 1791, National Theater | Prague | Libretto arranged by Caterino Mazzolà ; also on May 13, 1809 at the Teatro San Carlo in Naples; Carnival 1816–1817 in the Teatro Re in Milan; on December 26, 1818 at the Teatro alla Scala in Milan |
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| 1797 | Giuseppe Nicolini | Summer 1797, Teatro degli Avvalorati | Livorno | ||
| 1797 | Bernardo Ottani | December 26th 1797, Teatro Regio | Turin | ||
| 1802 | Antonio Del Fante | December 26th 1802, Teatro della Pergola | Florence | Libretto edited by Gaetano Rossi |
Recordings and performances in recent times
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Antonio Caldara :
- 2003/2004: Performance in the Chiesa San Pietro in Tuscania and CD. Orchestra della Stagione Armonica, conductor: Sergio Balestracci . Singers: Mya Fracassini (Tito), Ornella Pratesi (Vitellia), Eleonora Contucci (Sesto), Patrizia Zanardi (Annio), Lucrezia Raffaeli (Servilia), Aurio Tomicich (Publio).
-
Baldassare Galuppi :
- 2007/2008: CD. Savaria Baroque Orchestra, conductor: Fabio Pirona . Singers: Zoltán Megyesi (Titus), Mónika González (Vitellia), Zita Váradi (Servilia), Barnabás Hegyi (Annius), Andrea Meláth (Sextus), Tamás Kóbor (Publius).
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Christoph Willibald Gluck :
- 2014: CD. L'Arte del Mondo, head: Werner Ehrhardt. Singers: Rainer Trost (Tito), Laura Aikin (Vitellia), Arantza Ezenarro (Servilia), Raffaella Milanesi (Sesto), Valer Sabadus (Annio), Flavio Ferri-Benedetti (Publio).
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Wolfgang Amadeus Mozart .
- Lots of performances and recordings
Web links
- Several different versions of the libretto as full text (Italian) on progettometastasio.it.
Digital copies
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Second volume. Krauss, Frankfurt and Leipzig in 1769 as digitization at the Munich digitization center .
- ^ Libretto (Italian / German) of the opera by Niccolò Jommelli, Stuttgart 1786 as digitized version at the Munich Digitization Center .
- ↑ a b libretto (German) of the opera by Johann Adolph Hasse, Dresden 1738 as digitized version at the Munich digitization center .
- ^ Libretto (Italian) of the opera by Antonio Caldara, Vienna 1734 as a digitized version of the Library of Congress .
- ^ Libretto (Italian) of the opera by Leonardo Leo, Venice 1735. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Johann Adolf Hasse, Pesaro 1735. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Pietro Vincenzo Chiocchetti, Genoa 1736 as a digitized version in the Internet Archive .
- ^ Libretto (Italian) of the opera by Francesco Peli, Munich 1736 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Giovanni Francesco Maria Marchi, Milan 1737. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Arena, Turin 1739. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by anonymous, Modena 1742. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by anonymous, Venice 1754. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian / Spanish) of the anonymous opera, Barcelona 1755 as a digitized version on Google Books .
- ^ Libretto (Italian / Spanish) of the opera by Corselli, Corradini and Mele, Madrid 1747 as a digitized version in the Internet Archive .
- ^ Libretto (Italian / German) of the opera by Joseph Anton Camerloher, Munich 1747 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian / German) of the opera by Carlo Luigi Grua, Mannheim 1748 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Antonio Gaetano Pampani, Venice 1748 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Michelangelo Valentini, Bologna 1753 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Antonio Maria Mazzoni, Lisbon 1755. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Vincenzo L Limitio Ciampi, Venice 1757. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Scarlatti, Venice 1760. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Ignazio Platania, Milan 1767 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian / German) of the opera by Andrea Bernasconi, Munich 1768 as digitized version at the Munich Digitization Center .
- ↑ Score of the opera by Andrea Bernasconi, approx. 1768 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Pasquale Anfossi, Rome 1769 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Wolfgang Amadeus Mozart, Prague 1791 as digitized version at the Berlin State Library .
- ^ Libretto (German) of the opera by Wolfgang Amadeus Mozart, Vienna 1811 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian / English) of the opera by Wolfgang Amadeus Mozart, London 1813 as digitized version at the University and State Library of Bonn .
- ^ Libretto (Italian) of the opera by Bernardo Ottani, Turin 1798 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Antonio Del Fonte, Florence 1803 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
Individual evidence
- ↑ a b Metastasio, Pietro in The Music in Past and Present , p. 50861 ff (cf. MGG Vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( Digital Library Volume 60).
- ↑ a b c d e Don Neville: Clemenza di Tito, La. In: Grove Music Online (English; subscription required).
- ^ La clemenza di Tito (Antonio Caldara) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ↑ a b La clemenza di Tito (Antonio Caldara) at operabaroque.fr , accessed on January 31, 2015.
- ^ La clemenza di Tito (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ^ Tito Vespasiano (Johann Adolf Hasse) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ a b List of stage works by Johann Adolf Hasse based on the MGG at Operone, accessed on September 29, 2014.
- ^ La clemenza di Tito (Pietro Vincenzo Chiocchetti) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Francesco Peli) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Francesco Maria Veracini) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ^ La clemenza di Tito (Giovanni Francesco Maria Marchi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Giuseppe Arena) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ Tito Vespasiano (anonymous) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (anonymous) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (anonymous) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ↑ La clemenza di Tito (Courcelle, Corradini, Mele) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ^ List of the stage works by Francesco Corselli based on the MGG at Operone, accessed on September 29, 2014.
- ^ List of the stage works by Francesco Corradini based on the MGG at Operone, accessed on October 5, 2014.
- ^ List of the stage works by Giovanni Battista Mele based on the MGG at Operone, accessed on October 6, 2014.
- ^ La clemenza di Tito (Gennaro Manna) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Joseph Anton Camerloher) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Carlo Grua) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ↑ La clemenza di Tito (Antonio Gaetano Pampani) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (David Perez) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ↑ List of stage works by Davide Pérez based on the MGG at Operone, accessed on September 29, 2014.
- ^ A b c d e Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ^ La clemenza di Tito (Christoph Willibald Gluck) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Michelangelo Valentini) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ List of stage works by Michelangelo Valentini based on the MGG at Operone, accessed on October 18, 2014.
- ↑ La clemenza di Tito [1a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ a b List of the stage works by Niccolò Jommelli based on the MGG at Operone, accessed on September 29, 2014.
- ↑ La clemenza di Tito (Andrea Adolfati) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ List of stage works by Andrea Adolfati based on the MGG at Operone, accessed on October 5, 2014.
- ↑ La clemenza di Tito (Antonio Mazzoni) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ↑ La clemenza di Tito (Carlo Antonio Cristiani) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 18, 2014.
- ↑ La clemenza di Tito (Vincenzo L Limitio Ciampi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Ignaz Holzbauer) in the Corago information system of the University of Bologna , accessed on January 31, 2015.
- ^ List of the stage works by Ignaz Holzbauer based on the MGG at Operone, accessed on September 29, 2014.
- ^ La clemenza di Tito (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ a b La clemenza di Tito (Baldassare Galuppi) at operabaroque.fr , accessed on January 31, 2015.
- ↑ La clemenza di Tito (Gioacchino Cocchi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito [2a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Carlo Franchi) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 18, 2014.
- ↑ La clemenza di Tito (Ignazio Platania) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Johann Gottlieb Naumann) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Anton Bachschmidt) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Luigi Guido Beltrami) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed October 18, 2014.
- ↑ La clemenza di Tito (David August von Apell) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed October 18, 2014.
- ↑ La clemenza di Tito (Luciano Xavier Santos) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ List of the stage works by Luciano Xavier Santos based on the MGG at Operone, accessed on October 18, 2014.
- ↑ La clemenza di Tito (Wolfgang Amadeus Mozart) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ La clemenza di Tito (Giuseppe Nicolini) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Bernardo Ottani) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ↑ La clemenza di Tito (Antonio Del Fante) in the Corago information system of the University of Bologna , accessed on October 18, 2014.
- ^ Christoph Willibald Gluck: La Clemenza di Tito - L'Arte del Mondo, Werner Ehrhardt. CD information from Allmusic , accessed January 31, 2015.