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Mozart: La Clemenza di Tito

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$29.99 & FREE Shipping on orders over $35. Details Only 1 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Mozart: La Clemenza di Tito + Mozart - La Clemenza di Tito / Nicholas Hytner · Andrew Davis · Philip Langridge · Glyndebourne Opera
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Product Details

  • Actors: Stefan Dahlberg, Anita Soldh, Lani Poulson
  • Directors: Thomas Olofsson
  • Format: Multiple Formats, Classical, Color, NTSC, Subtitled
  • Language: Italian
  • Subtitles: English, French, German, Spanish, Italian
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Kultur Video
  • DVD Release Date: May 26, 2009
  • Run Time: 128 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B001URA65G
  • Amazon Best Sellers Rank: #265,979 in Movies & TV (See Top 100 in Movies & TV)

Special Features


Editorial Reviews

Based on the text by PIETRO METASTASIO
Vitellia: NITA SOLDH

The action takes place in 80 AD. Tito rules the Roman Empire. Vitellia, daughter of the deposed emperor Vitellius, seems to be obsessed with the notion that Tito was only able to become Emperor because his father ousted Vitellius. She is outraged that Tito is now planning to marry the foreign Princess Berenice; she insists that he must die and goads her admirer Sesto, a close friend of Tito, into agreeing to assassinate the Emperor for her sake.

Kultur is proud to present Mozart from the intimate setting of Sweden's Drottningholm Court Theatre, dating back to 1766, providing a perfect stage for these operas and featuring excellent casts and superb directors, accompanied by period instruments for a truly authentic experience.

'For true Mozart stick with Drottningholm.' Gramophone

'Excellent standard... notable for the clarity of the period-instrument sound and for a production wholly appropriate to the tiny Drottningholm space.' Gramophone

Chorus and Orchestra of the Drottningholm Court Theatre
Conducted by ARNOLD ÖSTMAN
Stage Direction by GÖRAN JÄRVEFELT
Directed and Produced for TV by THOMAS OLOFSSON

Customer Reviews

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Most Helpful Customer Reviews

48 of 55 people found the following review helpful By Luiz Abreu on December 20, 2000
Format: VHS Tape
Composed in only eighteen days, La Clemenza di Tito is Mozart's operatic swan song, his last opera, written a few months before his death (some say the one before last, The Magic Flute being the very last one) and perhaps the most beautiful opera ever written. It enjoyed considerable critical acclaim and great success in the years following Mozart's death and then it was largely forgotten, only to be revived in the last forty years or so. Contemporary critics were in doubt whether La Clemenza had surpassed Don Giovanni. It was referred to by one of them as a "heavenly work, full of emotion and expression with stately and sublime choruses and andantes of heavenly sweetness"; by another as "the most perfect work Mozart completed". This video is a very nice rendition of this supreme masterwork, beautifully sung and well acted. Ashley Putnam is a convincing Vitellia - envious, scheming, ruthless and yet... so human. The music is never too fast, the way Mozart should be played, though the recitatives occasionally are. It is sung in the original Italian with English subtitles. I found the staging slightly awkward sometimes (why the slanted stage?) and I don't understand why everybody is barefoot (unless there is some esoteric significance in that that escaped me) but it is still a 5-star video, I think. If you are only familiar with Mozart's other more famous master operas such as Figaro or Don Giovanni you may want to give La Clemenza a try. You will find a world of stunningly beautiful arias in the best Mozartian tradition, fascinating characters such as Vitellia and Sesto, who both dominate the opera, a clever plot, plus intrigue, seduction, love, passion, despair and at the end... redemption and mercy.Read more ›
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3 of 4 people found the following review helpful By figaretto on April 3, 2009
Format: DVD
This video would be much more enjoyable were it not for the disappointing performance from Pregardien. He seems to have a bit of trouble in the passagio, is often forced to go to mezza-voce, and is off-key a few times.

That being said, it's almost worth buying this video for Susan Graham's Sesto. Her singing in the role is simply a dream. I also enjoyed Naglestad quite well, and the Servilia. The Annio, I personally enjoyed very much, but she was off-key a few times. (And her hair-do was stupid.) I noticed later that she was actually quite good, but that compared to the perfection of Graham, flaws were evident that one would not have otherwise noticed, with another singing partner.

The production was generally tasteful, with just a few super-weird bits thrown in. In the first act, I could have sworn I saw a baked-potato roll by with a human being sitting in the cut-open, buttery part. Then it went away, and nothing else so absurd seemed to happened. A couple times Vitellia seemed to be eating fruit from off the floor and she applied some war-paint to her face while Sesto sang, 'Parto, parto...', but other than these brief oddities, and Annio's hair, everything seemed fairly normal - a semi-modern setting and aesthetically pleasant enough.

After watching the dvd a couple more times, I will say it's probably worth getting. Pregardien seemed less bad to me after the first time, although he is just SO light-voiced; he really leaves you wanting just a touch of heroism. The drama of the video led me to love this opera all the more and made me think deeper about the characters and their actions and words, though it definitely would have been nicer to have a better Tito to back up Graham's peerless Sesto. (And yes, there was a baked potato with a human in it in the first act. Not sure why.)

BTW, the Publio is just mediocre.
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By Alexia L. on July 10, 2014
Format: DVD Verified Purchase
The tempo in this Drottingholm court production is slightly too fast for my liking but all in all it's a good performance. I won't comment in detail on the singing as this full performance is on YouTube (with german subtitles) so judge for yourself. However I feel that the Drottingholm singers have a weaker power of projection on average that limits the degree to which the audience is moved. You won't feel shivers down your spine for this one. Happily the acting makes up for what's lacking at times - Lani Poulson for one convincingly depicts Sesto as an innocent youth torn between love and loyalty. Anita Soldh is also convincingly conniving and manipulative as Vitellia (in the first act). This all said, for non-traditionalists I'd recommend the 2003 Salzburg Festival modernist production of La Clemenza (also on YouTube in full but unsubtitled) that features truly phenomenal singing, and in my opinion, perfect control of tempo by maestro Harnoncourt that reinforces the atmosphere on stage. If you are a traditionist, well, cut off the visuals and you'd have an outstanding performance by a cast of considerable all round distinction.
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Format: DVD
For many, this can be a difficult opera to judge coming at the end of a sequence of masterpieces but, on the face of it, appearing to go backwards in development being described as an `opera seria' and not therefore following in the footsteps of its illustrious predecessors. Mozart himself though, described this opera as `re-worked into a true opera' in his notebook and we should all take note of this!

This opera is, to my mind, a forward -looking work of great stature where Mozart is finally able to address the universal concepts of loyalty, friendship, betrayal and forgiveness divorced from all issues of social class. The temporally distant `Roman' setting, focussing upon the unblemished character of Tito, becomes a universal stage where everyone is seen and judged on an equal footing. This makes this opera, for me, an extraordinary and astonishing leap forward into modern times.

The production that we have here makes use of a minimalist staging of clean lines intended to be timeless in effect. The costumes equally, are representative rather than intentionally historical. The use of clear-cut lighting also produces a very modern effect so the sum total of this is to bring the opera firmly into the `universal truth' type of production unfettered by precise historical considerations. It must be stressed that this is not going to be a production that will necessarily appeal to those who insist on historical accuracy or generous, strictly 'traditional' staging. Nevertheless, as one who dislikes avant garde productions which are sometimes referred to as 'Eurotrash', I personally did not find the minimalist or modernist quirks of this particular production to be damaging to my appreciation of the musical qualities of the performance.
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Mozart: La Clemenza di Tito
This item: Mozart: La Clemenza di Tito
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