Vienna State Opera tickets 16 March 2026 - La clemenza di Tito | GoComGo.com

La clemenza di Tito

Vienna State Opera, Main Stage, Vienna, Austria
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7 PM
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E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Intervals: 1
Duration: 2h 25min

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Pablo Heras-Casado
Mezzo-Soprano: Emily D`Angelo (Sesto)
Soprano: Florina Ilie (Servilia)
Soprano: Hanna-Elisabeth Müller (Vitellia)
Tenor: Katleho Mokhoabane (Tito Vespasian)
Orchestra: Vienna State Opera Orchestra
Creators
Composer: Wolfgang Amadeus Mozart
Librettist: Caterino Mazzolà
Librettist: Caterino Mazzolaà
Director: Jan Lauwers
Librettist: Pietro Metastasio
Overview

Unaware of the threats surrounding him, the Roman emperor Tito tries to live up to his office as well as his own standards.

Tito exercises magnanimity: he forgives his opponents and donates the money intended for the construction of a temple in his honor to the victims of the last eruption of Vesuvius. He also releases Servilia, whom he wanted to marry for reasons of raison d'état, when her lover Annio asks him to do so. But he is not armed against the secret wrath of Vitellia, who claims him and the co-regency for herself and incites his friend Sesto to murder and riot. The Capitol is already in flames. When Sesto confesses to being the instigator of the uprising, Tito is faced with the decision of signing the Senate's death warrant or allowing the proverbial leniency to prevail.

In accordance with the composition commission and the original, a libretto by Pietro Metastasio, Mozart took a look back at opera seria with La clemenza di Tito . However, by working with a version by the Dresden court poet Caterino Mazzolà that was "reduced to a true opera" according to his catalog of works, the composer had a more compact version at his disposal that was more accommodating to the musical dynamics: only seven of the original 25 arias were retained, four with new text were added.

Even within the "strict form" praised at the time of composition, Mozart achieves moving moments such as the duet no. 7 (Annio and Servilia), while the quintet for the finale of the first act is an exciting action finale that goes beyond the older opera seria and is even reminiscent of the finales of Da Ponte's operas. Also noteworthy are the arias with obbligato clarinet and bass horn solo (No. 9, Sesto and No. 23, Vitellia), which Mozart wrote for his friend and lodge brother Anton Stadler, a virtuoso on both instruments.

The Bohemian Estates had commissioned the work as a coronation opera to mark the coronation of Emperor Leopold II - a coronation that Joseph II had still refused. La Clemenza di Tito was also intended by the Estates, dominated by the clergy and nobility, as an appeal to Leopold's leniency in the sense that they hoped Joseph II's centralist reforms would be reversed in favor of regional privileges. A hope that was disappointed.

In contrast to Metastasio's version, the opera by the freemason Mozart, which was premiered in the face of the French Revolution, is striking in that the ruler's clemency is no longer explained by his divine right, but by his own moral convictions.

History
Premiere of this production: 06 September 1791, Estates Theatre, Prague

La clemenza di Tito is an opera seria in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at the Estates Theatre in Prague.

Synopsis

Place and time: Rome, in the year 79.

Act One
Vitellia, daughter of the late emperor Vitellio (who had been deposed by Tito's father Vespasian), wants revenge against Tito. She stirs up Tito's vacillating friend Sesto, who is in love with her, to act against him (duet Come ti piace, imponi). But when she hears word that Tito has sent Berenice of Cilicia, of whom she was jealous, back to Jerusalem, Vitellia tells Sesto to delay carrying out her wishes, hoping Tito will choose her (Vitellia) as his empress (aria Deh, se piacer mi vuoi).

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 (aria Del più sublime soglio). Since Annio and Servilia, unbeknownst to Tito, are in love, this news is very unwelcome to both (duet Ah, perdona al primo affetto). Servilia decides to tell Tito the truth but also says that if Tito still insists on marrying her, she will obey. Tito thanks the gods for Servilia's truthfulness, and immediately forswears the idea of coming between her and Annio (aria Ah, se fosse intorno al trono).

In the meantime, however, Vitellia has heard the news about Tito's interest in Servilia and is again boiling with jealousy. She urges Sesto to assassinate Tito. He agrees, singing one of the opera's most famous arias (Parto, parto, ma tu, ben mio with basset clarinet obbligato). 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 torn with feelings of guilt and worry over what she has sent Sesto to do.

Sesto, meanwhile, is at the Capitol wrestling with his conscience (recitativo Oh Dei, che smania è questa), as he and his accomplices go about to burn it down. The other characters (except Tito) enter severally and react with horror to the burning Capitol. Sesto reenters and announces that he saw Tito slain, but Vitellia stops him from incriminating himself as the assassin. The others lament Tito in a slow, mournful conclusion to act one.

Act Two
The act begins with Annio telling Sesto that Emperor Tito is in fact alive and has just been seen; in the smoke and chaos, Sesto mistook another for Tito. Sesto wants to leave Rome, but Annio persuades him not to (aria Torna di Tito a lato). 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 mortally, by Sesto. The Senate tries Sesto as Tito waits impatiently, sure that his friend will be exonerated; Publio expresses his doubts (aria Tardi s'avvede d'un tradimento) and leaves for the Senate. Annio begs Tito to show clemency towards his friend (aria Tu fosti tradito). Publio returns and announces that Sesto has been found guilty and an anguished Tito must sign Sesto's death sentence.

He decides to send for Sesto first, attempting to obtain further details about the plot. Sesto takes all the guilt on himself and says he deserves death (rondo Deh, per questo istante solo), so Tito tells him he shall have it and sends him away. But after an extended internal struggle, Tito tears up the execution warrant for Sesto. He determines that, if the world wishes to accuse him (Tito) of anything, it should charge him with showing too much mercy, rather than with having a vengeful heart (aria Se all'impero).

Vitellia at this time is torn by guilt, but Servilia warns her that tears alone will not save Sesto (aria S'altro che lagrime). Vitellia finally decides to confess all to Tito, giving up her hopes of empire (rondo Non più di fiori with basset horn obbligato). In the amphitheatre, the condemned (including Sesto) are waiting to be thrown to the wild beasts. Tito is about to show mercy, when Vitellia offers her confession as the instigator of Sesto's plot. Although shocked, the emperor includes her in the general clemency he offers (recitativo accompagnato Ma che giorno è mai questo?). The opera concludes with all the subjects praising the extreme generosity of Tito; he then asks that the gods cut short his days, should he ever cease to care for the good of Rome.

Venue Info

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 2
Intervals: 1
Duration: 2h 25min
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