Theatre of the Warsaw Chamber Opera
Wolfgang Amadeus Mozart
La clemenza di Tito
Opera in two acts
Libretto | Caterino Mazzolà
Based on a text by| Pietro Metastasio
Creative Team
Music Director | Benjamin Bayl
Production and Stage Director | Anna Sroka-Hryń
Set Design and Multimedia | Grzegorz Policiński
Costume Design | Sabina Czupryńska
Choreography | Paulina Andrzejewska-Damięcka
Lighting Director | Piotr Hryń
Graphics and Animation | Tomasz Grimm
Assistant Director | Aleksandra Hałaczkiewicz
Assistant Choreographer | Bartosz Dopytalski
Cast
Tito | Uwe Stickert
Vitellia | Serena Farnocchia
Sesto | Adanya Dunn
Annio | Jan Jakub Monowid
Servilia | Magdalena Stefaniak
Publio | Artur Janda
Młody Tito | Stanislau Sinichenka
Dancers
Nikola Zientarska, Magdalena Tandek, Julia Witczak
Bartosz Dopytalski, Krzysztof Jaros, Bartłomiej Kamiński
Stilt Performer | Wojciech Rotowski
Vocal Ensemble of the Warsaw Chamber Opera
Head of Vocal Ensemble | Krzysztof Kusiel-Moroz
Period Instrument Ensemble of the Warsaw Chamber Opera
Musicae Antiquae Collegium Varsoviense (MACV)
Conductor | Jonathan Stockhammer
In my interpretation, La clemenza di Tito becomes a psychologically and metaphysically deepened story about the Human Being — about our complex and delicate nature. Tito appears not only as an Emperor, but as a man: fallible, capable of critical self-reflection. The dramatic axis of the opera lies in the trio of Vitellia, Sesto, and Tito, with Sesto at the center of the conflict. The relationships binding this trio are ambiguous, set against the violent and ruthless world of ancient Rome. Ancient? The enduring power of Shakespeare’s dramas, Dostoevsky’s novels, or great operatic works lies in their universality. We may have airplanes, the internet, rapid information flow; we have traveled into space, and artificial intelligence supports decision-making processes — yet the human being has not changed. Our desires and passions remain the same. Only the scenery has changed, and the mechanisms of manipulation have become more subtle and sophisticated.
The opera’s libretto serves as a starting point for reflection on our spiritual and psychological condition in the contemporary world. Through this dissection, we may approach that delicate and tender place within us that defies definition.
Anna Sroka-Hryń
“Thanks to a coherent directorial vision and a precisely chosen cast, La clemenza di Tito becomes not merely a reconstruction of a classical drama, but a profound and moving commentary on contemporary emotional, relational, and identity dilemmas.” — Wiesław Kowalski, teatrdlawszystkich.eu
“Anna Sroka-Hryń rejected all references to pompous opera seria and created a performance about people — their passions and aspirations… Despite the production’s visual scope, the result is a deeply human, at times almost intimate story.” — Jacek Marczyński, Ruch Muzyczny
“Adanya Dunn is dramatically outstanding… She sings with almost seductive sensitivity and tonal refinement, treating every phrase like a jewel.” — Jürgen Otten, Opernwelt
Synopsis
ACT I
Ancient Rome, first century AD. The beautiful Vitellia, daughter of the former Roman emperor, cannot bear the indifference of the current emperor, Tito, who is in love with Berenice, daughter of the King of Judea. She persuades the infatuated Sesto to organize an assassination attempt on Tito’s life.
The emperor’s new chosen bride becomes Servilia, Sesto’s sister. Unfortunately, her heart already belongs to Annio, her brother’s friend. Meanwhile, Publio, commander of the Praetorian Guard, presents Tito with a list of conspirators. Tito explains his philosophy of forgiveness.
Servilia confesses her love for Annio to the emperor. Tito appreciates her honesty and withdraws his proposal. Humiliated, Vitellia forces Sesto to set fire to the Capitol and murder Tito. Shortly after Sesto departs, Vitellia receives unexpected news: Tito has decided to marry her. Sesto believes he has personally killed the emperor.
ACT II
It turns out that Sesto mistakenly killed someone else — Tito is alive. Annio urges his friend to return to court and submit to the emperor’s clemency. Sesto is ready to accept exile and leave Rome, but Annio, fearing the loss of his friend, begs him to stay.
Vitellia, fearing for her own safety, encourages Sesto to flee. The resolution arrives swiftly: Publio arrests the suspect and brings him before the emperor. When Tito demands a full confession, Sesto admits his guilt. Tito must sign the death sentence.
He is torn by inner conflict: he does not wish to become a tyrant, nor to condemn his friend to death. He turns to the gods, declaring that if they desire a cruel ruler, they must first strip him of his human heart.
The tragic news reaches Vitellia. Servilia and Annio plead with her to save Sesto. Vitellia realizes she must confess her crime rather than ascend the throne at the price of Sesto’s life. Tormented by remorse, she admits that she was the instigator of the assassination plot.
Tito magnanimously grants clemency to all the conspirators. The Roman people rejoice, praising the emperor’s goodness and mercy, and pray to the gods for his long life.