Theatre of the Warsaw Chamber Opera
Wolfgang Amadeus Mozart
La clemenza di Tito, KV 621
The Clemency of Titus, KV 621
Opera in Two Acts, Original Italian Version
Creative Team
Music Director | Benjamin Bayl
Staging & Stage Direction | Anna Sroka-Hryń
Scenography and Multimedia Designer | Grzegorz Policiński
Choreographer | Paulina Andrzejewska – Damięcka
Costume Designer | Sabina Czupryńska
Lighting Designer | Piotr Hryń
Graphics & Animation Designer | Tomasz Grimm
Director’s Assistant | Aleksandra Hałaczkiewicz
Music Director’s Assistant | Jakub Zwierz
Choreographer’s Assistant | Bartosz Dopytalski
Cast
TITO | Aleksander Kunach
VITELLIA | Serena Farnocchia
SESTO | Adanya Dunn
ANNIO | Elżbieta Wróblewska
SERVILIA | Magdalena Stefaniak
PUBLIO | Mariusz Godlewski
YOUNG TITO | Stanislau Sinichenka
Students of the Roman Turczynowicz State Ballet School in Warsaw
Dancers
Nikola Zientarska, Magdalena Tandek, Julia Witczak,
Bartek Dopytalski, Krzysztof Jaros, Bartłomiej Kamiński
Stilt Walker | Wojciech Rotowski
The Choir of the Warsaw Chamber Opera
Chorus Master | Krzysztof Kusiel-Moroz
Period Instrument Orchestra Musicae Antiquae Collegium Varsoviense
Musicae Antiquae Collegium Varsoviense (MACV)
Conductor | Benjamin Bayl
Duration
Act I | 65 min
Break | 25 min
Act II | 70 min
La Clemenza di Tito, in my interpretation, is a psychologically and metaphysically profound story about the Human Being—about their complex and fragile nature. Tito emerges not only as an emperor but as a man, fallible and capable of self-reflection. At the core of the opera lies the trio Vitellia–Sesto–Tito, with Sesto at the heart of the conflict. The relationships within this trio are ambiguous, set against a violent and ruthless world of ancient Rome. But is it really ancient?
The power of Shakespearean drama, Dostoyevsky’s literature, and great operatic works lies in their universality. Yes, we have airplanes, the internet, rapid information flow, we’ve gone to space, and artificial intelligence streamlines decision-making—but humanity has not changed. The passions and desires we fall prey to remain the same. Only the backdrop has changed, while manipulation has become more subtle and sophisticated.
The opera’s libretto serves as a springboard for reflections on our contemporary spiritual and psychological condition. Through this dissection, we have a chance to approach that delicate, sensitive place within us that defies all definition.
Anna Sroka-Hryń
Synopsis
ACT I
Ancient Rome, first century CE. The beautiful Vitellia, daughter of the former emperor, cannot bear the indifference of the current ruler, Tito, who is in love with Berenice, daughter of the King of Judea. She convinces Sesto, who is in love with her, to organize an assassination. Tito shifts his affections to Servilia, Sesto’s sister, who is already in love with Annio, his friend. Meanwhile, Publio, the commander of the Praetorian Guard, gives Tito a list of conspirators. Tito reveals his philosophy of mercy. When Servilia tells him the truth about her love, Tito admires her honesty and withdraws his proposal.
Humiliated, Vitellia pressures Sesto to burn down the Capitol and assassinate Tito. Just after he departs, she learns that Tito has chosen her as his bride. Sesto believes he has killed the emperor.
***
ACT II
It turns out Sesto mistakenly killed someone else—Tito lives. Annio persuades Sesto to return and face justice. Though prepared to become an outcast, Sesto stays at his friend’s request. Vitellia urges him to flee. The decision is taken from them—Publio arrests Sesto and brings him before the emperor. Sesto confesses. Tito must sign the death warrant but hesitates: he does not want to become a tyrant, nor execute a friend. In despair, he calls upon the gods: if they want a cruel ruler, they must take his human heart.
Vitellia learns of the sentence. Moved by the pleas of Servilia and Annio, she realizes she must confess her guilt instead of taking the throne at the cost of Sesto’s life. Tormented by remorse, she reveals herself as the instigator. Tito magnanimously pardons all conspirators. The Roman people rejoice, praise their merciful emperor, and ask the gods for his long life.