29:
876:
278:
Though shocked, the emperor includes her in the general clemency he offers. The opera concludes with all the subjects praising the extreme generosity of Titus, while he himself asks that the gods cut short his days when he ceases to care for the good of Rome. Marriages are proclaimed between
Vitellia and Sesto and between Annio and Servilia.
261:
In the meantime, Vitellia has heard the news about Tito's interest in
Servilia and is again boiling with jealousy. She urges Sesto to assassinate Titus. He agrees. Almost as soon as he leaves, Annio and the guard Publio arrive to escort Vitellia to Tito, who has now chosen her as his empress. She is
269:
Annio tells Sesto that
Emperor Tito is in fact alive and has just been seen; in the smoke and chaos, Sesto mistook someone else for Titus. Soon Publio arrives to arrest Sesto, bearing the news that it was one of Sesto's co-conspirators who dressed himself in Tito's robes and was stabbed, though not
265:
Sesto, meanwhile, is at the
Capitol wrestling with his conscience as he and his accomplices prepare to burn it down. The other characters (except Tito) react with horror to the burning Capitol. Sesto reenters and announces that he saw Tito slain, but Vitellia stops him from incriminating himself as
257:
Tito, however, decides to choose Sesto's sister
Servilia to be his empress, and orders Annio (Sesto's friend) to bear the message to Servilia. Since Annio and Servilia are in love, this news is very unwelcome to both. Servilia decides to tell Tito the truth, but also says that if Tito still insists
277:
Vitellia at this time is torn by guilt and decides to confess all to Tito, giving up her hopes of empire. In the amphitheater, the condemned (including Sesto) are waiting to be thrown to wild beasts. Tito is about to show mercy when
Vitellia offers her confession as the instigator of Sesto's plot.
273:
Tito decides to send for Sesto first, attempting to obtain further details about the plot. Sesto puts all responsibility on himself and says he deserves death. Tito tells him he will have it and sends him away. But after an extended internal struggle, Tito tears up the death warrant for Sesto and
233:
18th-century
Italian operas in serious style are almost always set in a distant or legendary past and are built around historical, pseudo-historical, or mythological characters. Metastasio preferred to craft dramas on incidents from the lives of genuine historical characters who once lived in the
87:
for the carnival season of 1774, no later than 5 February. In spite of a distinguished cast, the production was one of the composer's few operatic failures, perhaps due to the pressure of composing music for two different operas during the same operatic season (he also provided music for
249:
Vitellia, daughter of deposed emperor
Vitellio, wants revenge against Tito and incites Tito's vacillating friend Sesto, who is in love with her, to act against him. But when she hears word that Tito has sent
270:
mortally, by Sesto. The Senate tries Sesto as Tito waits impatiently, certain that his friend will be exonerated; but the Senate finds him guilty, and an anguished Tito must sign Sesto's death warrant.
63:. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste (similar to the setting of the same text by
67:). The cuts and changes in the text made for the 1774 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as
254:, of whom she was jealous, back to Jerusalem, Vitellia tells Sesto to delay carrying out her wishes with the hope that Tito will choose her (Vitellia) as his empress.
274:
determines that, if the world wishes to accuse him of anything, it can charge him with showing too much mercy rather than with having a vengeful heart.
258:
on marrying her, she will obey. Tito thanks the gods for
Servilia's truthfulness and immediately forswears the idea of coming between her and Annius.
389:
658:
102:
operatic season). The production was also disrupted by a fire in the Teatro San
Benedetto that was reported in the Venetian press.
901:
921:
739:
627:
20:
437:
707:
382:
896:
533:
445:
651:
573:
242:, who ruled between 79 and 81 AD., and concocts a story surrounding a fictitious daughter of the dead emperor
747:
375:
866:
644:
557:
541:
453:
413:
525:
477:
843:
613:
581:
501:
469:
90:
64:
605:
429:
597:
763:
691:
517:
911:
906:
851:
80:
28:
8:
803:
251:
398:
48:
32:
715:
699:
827:
811:
683:
671:
493:
354:
819:
795:
779:
549:
916:
731:
723:
589:
485:
421:
145:
60:
636:
787:
890:
234:
ancient Mediterranean world, or in Asia. This drama is based on the emperor
880:
262:
torn with feelings of guilt and worry over what she has sent Sesto to do.
565:
349:
Detailed documentation concerning the Venice performance of Mysliveček's
246:, who was murdered after ruling for only a few months in the year 69 AD.
68:
835:
461:
121:
56:
771:
755:
302:
Act 1, scene 11 – Duet of Vitellia and Sesto, "Parto, ma tu, ben mio"
243:
667:
367:
189:
99:
52:
320:
Act 2, scene 10 – Aria of Sesto, "Se mai senti spirarti sul volto"
158:
84:
299:
Act 1, scene 9 – Aria of Tito, "Ah, se fosse intorno al trono"
293:
Act 1, scene 6 – Aria of Annio, "Ah, perdona al primo affetto"
235:
140:
131:
95:
44:
875:
332:
Act 3, scene 8 – Aria of Vitellia, "Se vado, oh Dio, a tui"
323:
Act 2, scene 11 – Aria of Vitellia, "Tremo fra' dubbi miei"
305:
Act 2, scene 1 – Aria of Publio, "Sta lontano ogni cimento"
287:
Act 1, scene 2 – Aria of Vitellia, "Deh, se piacer mi vuoi"
239:
317:
Act 2, scene 8 – Aria of Annio, "Ch'io parto reo, lo vedi"
314:
Act 2, scene 7 – Aria of Tito, "Tu infedel non hai difese"
308:
Act 2, scene 1 – Aria of Servilia, "Almen, se non poss'io"
329:
Act 3, scene 5 – Aria of Tito, "Se all'impero, amici dei"
311:
Act 2, scene 2 – Aria of Vitellia, "Come potesti, oh Dio"
361:(Sterling Heights, Michigan: Harmonie Park Press, 2009).
290:
Act 1, scene 4 – Aria of Sesto, "Opprimete i contumaci"
19:
For other settings of the libretto by Metastasio, see
864:
326:
Act 3, scene 3 – Aria of Sesto, "Non chiedo perdono"
43:("The Clemency of Titus") is an 18th-century Italian
666:
888:
296:Act 1, scene 7 – Aria of Servilia, "Amo te solo"
59:that was first performed in 1734 with music of
652:
383:
659:
645:
390:
376:
27:
889:
201:friend of Sesto, in love with Servilia
74:
640:
371:
184:friend of Tito, in love with Vitellia
79:The opera was first performed at the
397:
21:La clemenza di Tito (disambiguation)
281:
170:sister of Sesto, in love with Annio
13:
126:Premiere cast, by 5 February 1774
14:
933:
112:Roles, voice types, premiere cast
874:
708:L'impresario delle Isole Canarie
215:prefect of the Praetorian guards
154:daughter of the emperor Vitellio
47:in 3 acts by the Czech composer
343:
1:
336:
922:Depictions of Titus in opera
359:Josef Mysliveček, "Il Boemo"
7:
228:
10:
938:
902:Operas by Josef Mysliveček
748:La passione di Gesù Cristo
18:
678:
624:
405:
16:Opera by Josef Mysliveček
105:
897:Italian-language operas
65:Wolfgang Amadeus Mozart
51:. It was composed to a
35:
740:Alessandro nell’Indie
692:Siface, re di Numidia
177:Maria Anna Schindler
31:
852:Il trionfo di Clelia
438:Il trionfo di Clelia
81:Teatro San Benedetto
55:by the Italian poet
804:La clemenza di Tito
510:La clemenza di Tito
351:La clemenza di Tito
163:Caterina Schindler
114:
75:Performance history
40:La clemenza di Tito
716:Siroe re di Persia
700:Didone abbandonata
110:
36:
862:
861:
828:Ciro riconosciuto
812:Gioas re di Giuda
684:Gli orti esperidi
672:Pietro Metastasio
634:
633:
494:Romolo ed Ersilia
478:Il gran Tamerlano
355:Daniel E. Freeman
226:
225:
205:soprano castrato
194:Pietro Benedetti
929:
879:
878:
870:
820:Achille in Sciro
796:Betulia liberata
780:Adriano in Siria
661:
654:
647:
638:
637:
550:Adriano in Siria
399:Josef Mysliveček
392:
385:
378:
369:
368:
362:
347:
282:Vocal set pieces
222:Giacomo Fantoni
115:
113:
109:
98:during the same
49:Josef Mysliveček
33:Josef Mysliveček
937:
936:
932:
931:
930:
928:
927:
926:
887:
886:
885:
873:
865:
863:
858:
724:Catone in Utica
674:
665:
635:
630:
620:
422:Il Bellerofonte
401:
396:
366:
365:
348:
344:
339:
284:
231:
208:Antonio Solari
146:Giovanni Ansani
136:emperor of Rome
111:
108:
77:
61:Antonio Caldara
24:
17:
12:
11:
5:
935:
925:
924:
919:
914:
909:
904:
899:
884:
883:
860:
859:
857:
856:
848:
840:
832:
824:
816:
808:
800:
792:
784:
776:
768:
760:
752:
744:
736:
728:
720:
712:
704:
696:
688:
679:
676:
675:
664:
663:
656:
649:
641:
632:
631:
625:
622:
621:
619:
618:
610:
602:
594:
586:
578:
570:
562:
554:
546:
538:
530:
522:
514:
506:
498:
490:
482:
474:
466:
458:
450:
442:
434:
426:
418:
409:
407:
403:
402:
395:
394:
387:
380:
372:
364:
363:
341:
340:
338:
335:
334:
333:
330:
327:
324:
321:
318:
315:
312:
309:
306:
303:
300:
297:
294:
291:
288:
283:
280:
266:the assassin.
230:
227:
224:
223:
220:
217:
210:
209:
206:
203:
196:
195:
192:
186:
179:
178:
175:
172:
165:
164:
161:
156:
149:
148:
143:
138:
128:
127:
124:
119:
107:
104:
76:
73:
15:
9:
6:
4:
3:
2:
934:
923:
920:
918:
915:
913:
910:
908:
905:
903:
900:
898:
895:
894:
892:
882:
877:
872:
871:
868:
854:
853:
849:
846:
845:
844:Il re pastore
841:
838:
837:
833:
830:
829:
825:
822:
821:
817:
814:
813:
809:
806:
805:
801:
798:
797:
793:
790:
789:
785:
782:
781:
777:
774:
773:
769:
766:
765:
761:
758:
757:
753:
750:
749:
745:
742:
741:
737:
734:
733:
729:
726:
725:
721:
718:
717:
713:
710:
709:
705:
702:
701:
697:
694:
693:
689:
686:
685:
681:
680:
677:
673:
669:
662:
657:
655:
650:
648:
643:
642:
639:
629:
623:
616:
615:
611:
608:
607:
603:
600:
599:
595:
592:
591:
587:
584:
583:
579:
576:
575:
571:
568:
567:
563:
560:
559:
555:
552:
551:
547:
544:
543:
539:
536:
535:
531:
528:
527:
523:
520:
519:
515:
512:
511:
507:
504:
503:
499:
496:
495:
491:
488:
487:
483:
480:
479:
475:
472:
471:
467:
464:
463:
459:
456:
455:
451:
448:
447:
443:
440:
439:
435:
432:
431:
427:
424:
423:
419:
416:
415:
411:
410:
408:
404:
400:
393:
388:
386:
381:
379:
374:
373:
370:
360:
356:
352:
346:
342:
331:
328:
325:
322:
319:
316:
313:
310:
307:
304:
301:
298:
295:
292:
289:
286:
285:
279:
275:
271:
267:
263:
259:
255:
253:
247:
245:
241:
237:
221:
218:
216:
212:
211:
207:
204:
202:
198:
197:
193:
191:
187:
185:
181:
180:
176:
173:
171:
167:
166:
162:
160:
157:
155:
151:
150:
147:
144:
142:
139:
137:
133:
130:
129:
125:
123:
120:
117:
116:
103:
101:
97:
93:
92:
86:
82:
72:
70:
66:
62:
58:
54:
50:
46:
42:
41:
34:
30:
26:
22:
850:
842:
834:
826:
818:
810:
802:
794:
786:
778:
770:
762:
754:
746:
738:
730:
722:
714:
706:
698:
690:
682:
612:
604:
596:
588:
580:
572:
564:
556:
548:
540:
532:
524:
516:
509:
508:
500:
492:
484:
476:
468:
460:
452:
444:
436:
428:
420:
412:
358:
353:is found in
350:
345:
276:
272:
268:
264:
260:
256:
248:
232:
214:
200:
183:
169:
153:
135:
134:Vespasiano,
89:
78:
39:
38:
37:
25:
912:Opera seria
907:1774 operas
788:L'Olimpiade
574:L'Olimpiade
566:La Calliroe
69:opera seria
891:Categories
836:Ipermestra
534:Demofoonte
462:La Nitteti
454:Ipermestra
446:Demofoonte
414:Semiramide
337:References
168:Servilia,
152:Vitellia,
122:Voice type
57:Metastasio
772:Demofonte
756:Artaserse
526:Artaserse
244:Vitellius
764:Demetrio
668:Libretti
614:Antigono
590:Demetrio
582:La Circe
502:Antigona
486:Demetrio
470:Motezuma
252:Berenice
229:Synopsis
213:Publio,
190:castrato
188:soprano
174:soprano
100:carnival
91:Antigona
53:libretto
606:Medonte
430:Farnace
199:Annio,
182:Sesto,
159:soprano
917:Operas
867:Portal
855:(1762)
847:(1751)
839:(1744)
831:(1736)
823:(1736)
815:(1735)
807:(1734)
799:(1734)
791:(1733)
783:(1732)
775:(1731)
767:(1731)
759:(1730)
751:(1730)
743:(1729)
735:(1728)
727:(1728)
719:(1726)
711:(1724)
703:(1724)
695:(1723)
687:(1721)
628:Operas
626:List:
617:(1780)
609:(1780)
601:(1780)
598:Armida
593:(1779)
585:(1779)
577:(1778)
569:(1778)
561:(1777)
553:(1776)
545:(1775)
537:(1775)
529:(1774)
521:(1774)
513:(1774)
505:(1774)
497:(1773)
489:(1773)
481:(1772)
473:(1771)
465:(1770)
457:(1769)
449:(1769)
441:(1768)
433:(1767)
425:(1767)
417:(1766)
406:Operas
219:tenor
118:Roles
85:Venice
881:Opera
518:Atide
236:Titus
141:tenor
106:Roles
96:Turin
45:opera
732:Ezio
558:Ezio
542:Ezio
240:Rome
132:Tito
94:for
670:by
238:of
83:in
893::
357:,
71:.
869::
660:e
653:t
646:v
391:e
384:t
377:v
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
