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Mozart: La clemenza di Tito


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Product Details

  • Actors: Michael Schade, Elina Garanca, Dorothea Roschmann, Luca Pisaroni, Nikolaus Harnoncourt
  • Directors: Martin Kusej
  • Writers: Wolfgang Amadeus Mozart
  • Producers: Salzburger Festspiele
  • Format: Multiple Formats, Classical, Color, NTSC, Widescreen
  • Language: Italian (Dolby Digital 5.1), Italian (DTS 5.1), Italian (PCM Stereo)
  • Subtitles: German, English, French, Spanish, Italian
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 2
  • Rated: NR (Not Rated)
  • Studio: Arthaus
  • DVD Release Date: March 29, 2011
  • Run Time: 160 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B0041UG676
  • Amazon Best Sellers Rank: #181,223 in Movies & TV (See Top 100 in Movies & TV)

Special Features

None.

Editorial Reviews

Michael Schade, Vesselina Kararova, Dorothea Roeschmann, Elina Garanca, and Barbara Bonney star in this 2003 Salzburg Festival production of the Mozart opera conducted by Nikolaus Harnon Court with the Vienna Philharmonic, and directed by Martin Kusej.

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By I. Giles TOP 500 REVIEWER on November 7, 2012
This recording of Mozart's La Clemenza, recorded in 2003 at the Salzburg Festival is, to my mind, a successful production although there are clearly some challenging aspects as regards the updating decisions which will not appeal to all viewers.

The production is largely in modern dress with the exception of Titus who is attired in a flowing skirt-like item for much of the time. The scenery essentially makes use of the theatre building to create a series of separate chambers or rooms in which the action between the cast members takes place. The props can only described as minimalist and Spartan - nothing approaching any form of luxury or social advantage that one might expect of a ruler and his associates. The chorus makes its first entrance as modern tourists with Titus appearing to be an exhibited model who then springs to life and addresses his subjects. At the beginning and at the end a large number of these cubicles is peopled with a young coy in each dressed in just his underwear pants, the significance escaped me. This is the only part of the production that causes me any unease.

Moving on to the singing the considerations are much easier to deal with as this is a uniformly top quality cast of young singer/actors who all fulfil their sung and dramatic roles to perfection in my opinion. In the course of the opera the full gamut of intended emotional expression is fully met and matters of conflicting loyalties, and considerations of offices of power and how those responsibilities can conflict with personal relationships is fully and powerfully met. Michael Schade makes an excellent Titus as he struggles with his various dilemmas and in this he is equally matched by Vesselina Kasarova as the equally compromised Sesto. She is good at trouser roles.
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2 of 2 people found the following review helpful By R. Denes on December 31, 2014
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This is a wonderful opera sang by great voices, but staged by a miserable person. The Salzburg Festspiele is famous for its distorted stagings, and this "Clemenza" is a good example of that. The explanation of the problem is described in the DVD-booklet: "...the greatest demands are placed on the performers if they are to present [this opera] in a convincing light, especially for an audience that sets out from completely different PRECONCEPTIONS from those that obtained in Mozart's day."

So we now go from Mozart's conception to the conception of Mr. Kusej, the director, who makes the main character [Titus] a psychopath wreck. It is painful to look at him on the stage, running around the three-storied stage in a skirt over his pants, chewing his fingernails after scratching his hair, and presenting the type of singing what a strangely contorted face can do.

The first act - just to demonstrate Mr. Kusej's improvements over Mozart - ends with two huge and loud explosions on the stage, right after Maestro Harnoncourt's beautiful and quiet closing music ends. The two wonderful mezzo-s [Kasarova & Garanca] are visibly struggling throughout the performance to create, and sing, their operatic characters vis-a-vis the psychopath Titus.

You must be prepaired to sit through most of the performance with closed eyes, but even then you would hear the craziness of Michael Schade [Tito]. To finish this sad review, I must say that "es ist Schade" [it's sad] to have such a good opera destroyed by a stage director.
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2 of 3 people found the following review helpful By Robert Young on January 11, 2014
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This dvd was purchased as a gift for a fellow lover of the best musical instrument; the human voice. I purchased the original release of this 2003 performance several years ago but never put my feelings for it into print until now.
After approximately 20 viewings over the years, this has moved to number three on my list of opera favorites. Being a Verdi nut, Traviata and Rigoletto are Numbers one and two. Essentially perfect operas because Verdi in his middle period never lets the incredible music stop. If Mozart had cut the last act of Figaro in half, It would move up to be included in my top five.
This is not written as a commentary on my taste, so on to the issue of La clemenza di Tito. This singspiel, in my opinion is the best opera that Mozart wrote. His love for the clarinet comes into play a couple of times but the use of the basset clarinet in Vitellia's final aria is truly wonderful. The cast is as good as it gets and as a group, certainly far above those of the other dvd's available. Speaking of other available videos, I have owned or seen them all and although many will accept only these period performances, in my opinion (and that's what it is, folks) they are all unwatchable compared to this performance.
That's the good stuff: conductor and cast clearly a dream team.
The only thing that will turn some people off is some aspects of the stage direction. The director introduces some nonsensical bits
that certainly could and should have been omitted. However, producing a quality opera may be the most difficult of all stagings, so
grit your teeth through the few silly bits and enjoy the great music and singing.
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By Curious on October 11, 2014
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great
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