Casting
| Position | Name | Role |
| Chant / Singer | Gregory KUNDE | Titus |
| Chant / Singer | Carmen GIANNATTASIO | Vitellia |
| Chant / Singer | Sarah CONNOLLY | Sesto |
| Chant / Singer | Anna STEPHANY | Annio |
| Choeur / Chorus | ESTONIAN PHILHARMONIC CHAMBER CHOIR | |
| Direction musicale / Conductor | Colin DAVIS | |
| Mise en scène / Stage Director | David MCVICAR | |
| Orchestre / Orchestra | LONDON SYMPHONY ORCHESTRA |
Co Producers and Broadcasters (TV, cinema, Video)
FRANCE TELEVISIONS, CNC, FESTIVAL D'AIX EN PROVENCE, MEZZO
Line producer
MARIE-PIERRE GUILLEMINOT
«It is not necessary that there shall be blood and deaths in tragedy; it is enough that its action shall be great, that its characters shall be heroic, that the passions shall be aroused through it, and that the whole effect shall be that majestic sadness which constitutes the whole pleasure of tragedy.»
Jean Racine, preface to Berenice, 1671
Titus, Emperor of Rome, has turned down Berenice the foreign princess. He decides to marry Servilia and thereby arouses great anger in the ambitious Vitellia. Sextus would do anything for Vitellia’s love, even foment a coup against his closest friend, the Emperor. Revisiting the great Metastasio’s libretto, so often set to music, Mozart transformed the conventions of opera seria by rethinking its traditional form with a music that is filled with restrained feelings and veiled with melancholy. It was his last opera, a masterpiece that portrays the torment of the human condition as a man of power gains mastery over his impulses. A wave of emotion flows through this Clemenza di Tito that tells the story of passions that are ultimately tamed.
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