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Mozart: La clemenza di Tito

2 CD

Rolando Villaz¢n/Yannick Nezet-Seguin/Chamber Orchestra of (Artist) Format: Audio CD

4.5 47 ratings

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Editorial Reviews

The fifth installment in DG's Grammy-nominated series of Mozart operas conducted by Yannick Nezet-Seguin, La Clemenza di Tito is Mozart's last opera about the benevolent Emperor Titus who pardons an attempt on his own life. Rolando Villaz¢n in the title role is supported by a stellar cast, including mezzo-soprano Joyce DiDonato as Sesto.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 5.2 x 5.16 x 0.71 inches; 7.34 ounces
Manufacturer ‏ : ‎ Deutsche Grammophon
Original Release Date ‏ : ‎ 2018
Date First Available ‏ : ‎ May 19, 2018
Label ‏ : ‎ Deutsche Grammophon
ASIN ‏ : ‎ B07CQKKF67
Number of discs ‏ : ‎ 2

Best Sellers Rank: #141,686 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #1,544 in Funk (CDs & Vinyl)
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4.5 47 ratings

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Cody Greiser

A truly noble portrayal of a truly noble character.

Reviewed in the United States on November 1, 2019

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Mozart had been given a commission to compose an opera to celebrate the coronation of Leopold II of Bohemia, and to do so in less than 2 months. In the hands of any other artist the task would have been utterly inconceivable. But what came from the pen of Mozart was La clemenza di Tito, an opera that was and still is the very essence of brilliance. What we have here is not the unfinished product of one compelled to perform under unreasonable demands, but rather something simply spectacular—indeed, genius personified. The scheming and vengeful Vitellia, the uncommitted Sesto, the courtly Publio, and of course the ever just and merciful Tito all come together marvelously on this recording to make La clemenza di Tito a truly noble portrayal of a truly noble character. Many recordings of this wonderful work have been made, but this one simply must be considered the greatest. Every member of the orchestra and cast on this recording perform with the most intense emotion, bringing forth every scene, every moment and every note with a rich and natural quality that has never been (and in all probability will never be) matched on any other. As an introduction to La clemenza di Tito it is one that cannot be missed; for those who have heard other readings this is an interpretation that cannot be surpassed. The beginner and the seasoned alike will simply be completely spell-bound by what they encounter.

2 people found this helpful

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S. Lachterman

An exquisite and loving performance

Reviewed in the United States on August 9, 2018

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La Clemenza di Tito, Mozart's last opera, coming after Così fan tutte, has had a hard time keeping up with the continuing popularity of the composer's operatic canon. Idomeneo, for example, is perceived as Mozart’s masterpiece of the seria genre. Yet, in the nineteenth century, La Clemenza was one of Mozart’s most performed works. Charles Rosen regarded it as having exceptionally beautiful music, but somehow, inexplicably falling short of a masterpiece. Maybe it is time to view this work as music first, and theatre second. Lately, the work is getting more circulation.
For Yannick Nézet-Séguin, the Chamber Orchestra of Europe, and his stellar cast, it’s all about the beauty and subtlety of the score, the gorgeous instrumentation (especially the outstanding basset clarinet and basset horn obbligati), and the structural symmetry of the whole. The emotionally ambiguous libretto informs this detailed interpretation. Celebrating the sensuous beauty of such a work would not be possible without absolutely perfect singers: Joyce DiDonato’s Sesto, Marina Rebeka’s Vitellia and Rolando Villazòn’s Tito are all wonderful. No less laudable are Recula Műlemann’s Servilia, Tara Erraught’s Annio and Adam Plachetka’s Publio.
Yannick Nézet-Séguin has a deep affinity for the score and its chamber music-like textures. The martial numbers stand out even more in this refined reading. Highly recommended.

17 people found this helpful

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Banzai

Addition to your Mozart collection

Reviewed in the United States on January 23, 2019

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Outstanding performance of Mozart’s last Opera. A must for refined music/Opera lovers who appreciate the era before Verdi and Wagner

2 people found this helpful

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Mountaine

Sublime

Reviewed in the United States on October 15, 2020

Tito is a favorite opera of mine, but I haven't listened to any of my dozen-or-so recordings in awhile. It's a great pleasure to report that I'm loving everything about this version. I hear a few blips in Villazon's technique, but the beautiful sound of his voice, coupled with his dramatic acuity, more than makes up for any imperfections. DiDonato is sublime, Rebeka is ideal, and for me there isn't a weak link in the cast. The orchestra sounds delicious and Nezet-Seguin's conducting is fresh and energetic. Without any comparisons needed to other favorite recordings of this opera (which I will certainly return to when I want to savor their delights), I highly recommend this one!

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The Cloud

A Fair Recording for the Money

Reviewed in the United States on January 31, 2019

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The high-end registers can be shrill-sounding. I suspect that's due to a recording engineer and not the artists. At times the music is inconsistent in modulation. I wish the label had spent more money on sound engineering and less on packaging, but, for the price, it's a fair purchase.

2 people found this helpful

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Sven Edward

A mixed bag in a crowded field

Reviewed in the United States on April 17, 2019

Although this recording is not without its strengths, the major disappointment is the Tito of Rolando Villazón. His first entrance is bizarrely rather nonchalant. He then goes on to have moments of appropriate drama and full-throated singing, but he he still pales in comparison to the fuller voiced Marina Rebeka and Joyce DiDonato. And finally, when it comes to his big bravura aria in Act II, the coloratura just isn't there. It's a shame, because he is actually a fantastic singer at his best. But I can't think of a single singer (even the finest Mozarteans) who excelled in all seven of Mozart's popular mature operas, and unfortunately Villazón is no exception.

If you happen to like DiDonato you will not be disappointed. She's actually in better voice than in some of her other recordings—especially considering this is a live performance.

Finally, Nézet-Séguin's conducting is mostly idiomatic, but occasionally ventures into the ridiculously fast (even by Östman standards), or ponderous (à la Karajan). And for my taste the cembalo part lacked variety. There's only so much endlessly rolled chords one can take. Otherwise, the orchestra is fine with some exceptional solo playing in the obbligato parts.

Overall the orchestra, chorus, and female leads are very strong, making this worth a listen on streaming or maybe for a third choice in your collection. But for my money, this set can't compete with Gardiner, Davis, Hogwood or the more recent effort by Mackerras—all highly recommended.

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vincenzo nardelli

assolutamente scadente

Reviewed in Italy on May 29, 2022

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sembra di ascoltare un'altra opera.

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Erich Bachinger

In allen Details stimmig...absolute Kaufempfehlung

Reviewed in Germany on September 16, 2021

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Zuerst mal war ich wegen der kritischen Rezensionen betreffs Villazons Interpretation des Titus skeptisch. Ich habe schon einige tenöre mit dunklem Timbre hoffnungslos dabei scheitern gehört und gesehen. Vergleiche mit anderen Einspielungen sind immer kritisch, vor allem wenn es sich dabei um besonders geliebte Opern handelt. In diesem Fall hat mich die offenbar durch Villazons Krankheit überschattete Stimme mehr überzeugt als irritiert. Kann diese doch im Zusammenklang mit den hervorragenden Damenstimmen die Tragik des Konfliktes zwischen Rache, Recht und Gnade eine ganz besonders menschliche Dimension verleihen. Zu allem Luxus ist dieser Geniestreich Mozarts für meine nicht wissenschaftlich geschulten Opernfreak Ohren so derart ausbalanziert ohne oberflächlicher Effekthascherei dirigiert, wie kaum eine der vielen Aufnahmen (auch von berühmteren Dirigenten) die ich mittlerweile besitze.
Absolute Kaufempfehlung!

2 people found this helpful

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emji

La Clémence de Nezet-Seguin

Reviewed in France on August 3, 2018

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Yannick Nezet-Seguin poursuit son cycle des plus importants opéras du divin Mozart avec aujourd'hui "La Clemenza di Tito", dont on sait que c'est réellement le dernier ouvrage lyrique du compositeur.
Le jeune et brillant chef d'orchestre nous livre à nouveau ici une lecture passionnante de la partition avec le soutien de l'excellent Chamber Orchestra of Europe, commme pour les précédents items déjà parus ( Don Giovanni, Cosi fan Tutte, Le nozze di Figaro et Die entfürung aus dem Serail ).
L'autre artiste participant à l'entièreté de ce projet est la présence pour assez inattendue qu'elle soit de ... Rollando Villazon !
Jusqu'à présent, il a plutôt brillamment négocier ce " virage " dans un répertoire qui à priori est assez éloigné de ses rôles habituels.
Mais on le sait : Villazon est un artiste intelligent, sensible, qui réussi autant ses prises de risques lyriques que ses mises en scènes .
D'où vient alors ce sentiment de frustration qui nous envahit à l'écoute de son Tito ? On reste assez surpris par unes voix plutôt désagréable à l'écoute, voire laborieuse dans certains airs. C'est grand dommage car l'artiste est sincère, on le sent !
Le reste de la distribution n'appelle que des éloges à commencer par le Sesto de Joyce Di Donato bien sûr, qui rend passionnant de bout en bout ce rôle que je trouvais jusqu'à présent assez horripilant pour tout dire. Son rondo est certainement un des plus beau de toute la discographie de La Clemenza ! Fidèle à elle - même, elle consume la scène dès sa première apparition musicale. Quelle Vitellia elle aurait été !!...
Vitellia justement n'a pas à rougir : Marina Rebeka propose du personnage une interprétation incandescente comme il se doit pour ce rôle à fleur de peau.
Les autres rôles n'appellennt également que des éloges.
En résumé, cette nouvelle version de La Clemenza tient crânement sa place dans l'édition de ce cycle instauré par Deutsche Grammophon, surtout gâce à la direction passionnée de Nézet-Séguin et son orchestre (ainsi que les choeurs), et pour moi Di Donato.
Après, la déception concernant Villazon est réelle, et c'est grand dommage, connaissant l'investissement artistique et affectif que le ténor met dans chacune de ses prestations. Cela instaure hélas une certaine inquiétude pour le futur enregistrement d'Idomeneo qui clôturera le cycle vers 2021 (enfin, on ne sait encore quel rôle Villazon prendra dans cette magnifique oeuvre).
En attendant, le prochain item sera pour 2019 : Die Zauberflöte, où - contre toute attente d'ailleurs - Villazon ne chantera pas Tamino, mais... Papageno (!). C'est Klaus Florian Vogt qui incarne le jeune prince.

2 people found this helpful

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WH CHARLTON-PERKINS

A DISTINGHISHED ADDITION TO THE MOZART 'CLEMENZA' DISCOGRAPHY

Reviewed in the United Kingdom on August 24, 2018

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I have loved Mozart’s La Clemenza di Tito for more than fifty years, ever since as a teenage fan of the great Teresa Berganza, I snapped up Decca’s 1967 trail-blazing release of Mozart’s High Classical masterpiece, conducted by Istvan Kertész. Heading a cast of young stars that included Maria Casula, Lucia Popp, Werner Krenn and Brigitte Fassbaender, the great Spanish mezzo put her unforgettable stamp on the opera’s pivotal role of Sesto. Mozart’s once-neglected final opera seria has long since reclaimed its rightful position among the pantheon of his operatic greats, with more than a dozen commercial recordings entering the lists. Deutsche Grammophon’s recent release with Yannick Nézet-Séguin at its helm is both a notable addition of the work’s discography, and to the Canadian conductor’s distinguished Mozart opera series, captured from live concert performances in Baden-Baden. Joyce DiDonato’s searing portrayal of the guilt-wracked Sesto, who plots unsuccessfully to assassinate the Roman Emperor Titus, sets a new bench mark for the role, while Marina Rabeka’s spit-fire Vitellia runs her a close second, both in dramatic commitment and visceral vocality. If Rolando Villazon’s overly emotive take on the opera’s magnanimous title character strays beyond the bounds of performance style appropriate to this repertoire, there is no gainsaying the tenor’s generosity of spirit, or the glamour of his rich vocal palette. Regula Mühlemann, Tara Erraught and Adam Plachetka in the secondary roles of Servilla, Annio and Publio respectively, sustain the high standards set by Maestro Nézet-Séguin. His deeply perceptive reading is wonderfully enhanced by DG’s recording team, who capture the contributions of the soloists, the Chamber Orchestra of Europe and the RIAS Kammerchor with great dramatic immediacy and sonic clarity. A clear recommendation all round.

5 people found this helpful

Ulla Tarras-Wahlberg

An ambitious, true version. Four and a half star is my preferred 'verdict'.

Reviewed in the United Kingdom on August 18, 2018

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Overall, a very good version of this wonderful opera. Joyce DiDonato in perfect , dedicated form. At the beginning I did not recognize the voice of Rolando Villazon, but at the end of the recording - I did. (I believe I have heard that he has been ill).
The other women in this version, sadly, could not compete with DiDonato, but very few can.

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