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DTSTART;TZID=Europe/Warsaw:20250926T190000
DTEND;TZID=Europe/Warsaw:20250926T213000
DTSTAMP:20260415T115543
CREATED:20250721T101537Z
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UID:44900-1758913200-1758922200@operakameralna.pl
SUMMARY:La clemenza di Tito / The Clemency of Titus - Wolfgang Amadeus Mozart
DESCRIPTION:BUY TICKET\n\n  \n  \nTheatre of the Warsaw Chamber Opera\nWolfgang Amadeus Mozart\nLa clemenza di Tito\, KV 621\nThe Clemency of Titus\, KV 621\nOpera in Two Acts\, Original Italian Version \nComposer | Wolfgang Amadeus Mozart\nLibretto | Giambattista Varesco\, based on Pietro Metastasio\nPremiere | May 8\, 2025\n  \n\n\n\nCreative Team\n\nMusic Director | Benjamin Bayl\nStaging & Stage Direction | Anna Sroka-Hryń\nScenography and Multimedia Designer | Grzegorz Policiński\nChoreographer | Paulina Andrzejewska – Damięcka\nCostume Designer | Sabina Czupryńska\nLighting Designer | Piotr Hryń\nGraphics & Animation Designer | Tomasz Grimm\nDirector’s Assistant  | Aleksandra Hałaczkiewicz\nMusic Director’s Assistant | Jakub Zwierz\nChoreographer’s Assistant | Bartosz Dopytalski\n \n  \n\nCast\nTITO | Aleksander Kunach\nVITELLIA | Serena Farnocchia\nSESTO | Adanya Dunn/Danielle Rohr\nANNIO | Elżbieta Wróblewska\n SERVILIA | Hanna Sosnowska-Bill\nPUBLIO | Mariusz Godlewski \n\nYOUNG TITO | Stanislau Sinichenka\nStudents of the Roman Turczynowicz State Ballet School in Warsaw \n\n\n\nDancers \n\n\n\nNikola Zientarska\, Magdalena Tandek\, Julia Witczak\,\nBartek Dopytalski\, Krzysztof Jaros\, Bartłomiej Kamiński \n\n\n\n\n\n\n\n\n  \nStilt Walker | Wojciech Rotowski \n\n\n\n\n\n  \n\nThe Choir of the Warsaw Chamber Opera \nChorus Master | Krzysztof Kusiel-Moroz \n  \n\n\nPeriod Instrument Orchestra Musicae Antiquae Collegium Varsoviense\nMusicae Antiquae Collegium Varsoviense (MACV) \nConductor | Benjamin Bayl\n\n\n\nDuration \nAct I | 65 min\nBreak | 25 min\nAct II | 70 min \n\n\n\n\n\nLa 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? \nThe 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. \nThe 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. \nAnna Sroka-Hryń \n\n\n\n\n  \nSynopsis\nACT I\nAncient 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. \nHumiliated\, 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. \n***\nACT II\nIt 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. \nVitellia 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.
URL:https://operakameralna.pl/en/event/la-clemenza-di-tito-the-clemency-of-titus-wolfgang-amadeus-mozart/
LOCATION:Theatre of the Warszawska Opera Kameralna\, al. Solidarności 76b
CATEGORIES:Opera
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