La Clemenza di Tito
Due to the Coronavirus pandemic, La Clemenza di Tito will be streamed soon on Mezzo Live HD and Play RTS until.
Following the federal and cantonal directives relating to the fight against the spread of the Covid-19 virus, the Grand Théâtre de Genève is obliged to cancel all performances of the opera La Clemenza di Tito, February 19 to March 3 2021. Our season subscribers as well as the holders of tickets for this event will be contacted by email.
Opera by Wolfgang Amadeus Mozart
Libretto by Caterino Mazzolà
First performed in 1791 in Prague
Last time at the Grand Théâtre de Genève 2005-2006
In coproduction with the Wiener Festwochen,
the Théâtres de la Ville de Luxembourg and the Opera Ballet Vlaanderen
sung in Italian with recitatives in French
Sponsored by :
MADAME ALINE FORIEL-DESTEZET
MADAME VERA MICHALSKI-HOFFMANN
Musical Director Maxim Emelyanychev
Stage Director Milo Rau
Scenographer Anton Lukas
Costumes designer Ottavia Castellotti
Lighting designer Jürgen Kolb
Video designer Moritz von Dungern
Dramaturgy Clara Pons
Choir director Alan Woodbridge
Tito Bernard Richter
Vitellia Serena Farnocchia
Sesto Anna Goryachova
Servilia Marie Lys
Annio Cecilia Molinari
Publio Justin Hopkins
Grand Théâtre de Genève Chorus
Orchestre de la Suisse Romande
A volcano spewing lava, ruins going up smoke, Capitol Hill on fire, a coup led by your best friend, the stuff of the latest US thriller of the season indeed! Except this is the plot of Mozart’s last opera, La Clemenza di Tito, composed as he was finishing his Magic Flute. Despite the blockbuster background and the discreet admixture by Mozart of some buffo elements to his opera seria – a technique he had practiced throughout his whole career – you have to admit that the libretto and some of the recitatives (not composed by Mozart himself) are a little lackluster. A chorus or two pop up here and there, delivering propaganda messages, and the plot is a muddled story of treachery performed as chamber theatre, in which each character forgets the action as soon as they start singing about their feelings, also more than a little muddled. They love each other, betray each other, they forgive each other or are forgiven. Some saw in this palace drama Mozart’s way of criticizing, or showing his disinterest, in Emperor Leopold II, whose coronation as King of Bohemia was the pretext for the commission of La Clemenza di Tito.
And anyway, how clement is Titus? This is obviously the question that Milo Rau, Swiss director at the cutting-edge of documentary theater, wants to ask us in his first confrontation with the codified world of opera, and the even more codified codes of opera seria. Rau will not resist lifting the veil behind all the beautiful words of forgiveness uttered by a supposedly enlightened monarch. As an intellectual and artistic élite, Titus and his clique are a mutual admiration society that also fustigate each other about their goodness, their good works and their more or less utilitarian attitudes and criticisms of the outside world. Gathering in salons and art galleries, the groups gets mired in endless deliberations as the world outside is turned into a bloodbath. Each character has their own strategy of escape by forming more or less privileged relationships with the more or less submissive masses outside the palace walls. Can La Clemenza di Tito resist the temptation to become a dystopian tale à la Mad Max?
From shamanic rituals to political lynchings, Milo Rau and his crew take seize this opportunity to question the violence of this present time through Mozart’s opera. The young conductor Maxim Emelyanchev, recently starring at the Glyndebourne Festival, is there to give support with the Orchestre de la Suisse Romande and the great Mozartian voices of the day, such as Swiss tenor Bernard Richter, to mention only one.
Are you interested in purchasing an original art work created for La Clémence de Titus and exhibited on stage?
The two original paintings by the artist Lisa Kränzler “Inferno” and “Herzritual” (Heart Ritual) are on sale now at the Galerie Gebr. Lehmann, Dresden.
Watch here a short apocalyptic view into the exhibition of the Lisa Kränzler with works exhibited in and inspired by our show La Clémence de Titus.
Pour plus d’info :
Lisa Kränzler Apokalypse Wow
une exposition à la Galerie Gebr. Lehmann, Dresde, Allemagne
du 16 février au 16 mars 2021
Explore the program and discover a selection of articles published in grand théâtre magazine n°7 – Nos conspirations
Program La Clemenza di Tito
All about the opera
grand théâtre magazine n°7 – Nos conspirations
- L’opéra et ses complots
- Milo Rau, l’homme de partout
- P.A.R.T.S., l’école d’Anne Teresa De Keersmaeker
About Milo Rau
Close up on Milo Rau and Maxim Emelyanychev
Close-up on the director Milo Rau and the conductor Maxim Emelyanychev, who will be back in February 2021 for Wolfgang Amadeus Mozart’s La Clémence de Titus at the Grand Théâtre de Genève.
Live with Milo Rau
Real headliner of the season 20-21, the director of La Clemenza di Tito, Milo Rau, was live on Thursday, April 30th, 2020 from our Facebook page to answer questions from the audience. A unique opportunity to discuss about committed culture.