34th Mozart Festival in Warsaw

Theatre of Warsaw Chamber Opera

Wolfgang Amadeusz Mozart

La clemenza di Tito, KV 621
The Clemency of Titus, KV 621

Opera in two acts, performed in the original Italian version

The Choir of the Warsaw Chamber Opera

Choir Director  | Krzysztof Kusiel-Moroz

Period Instrument Orchestra of the Warsaw Chamber Opera
Musicae Antiquae Collegium Varsoviense (MACV)

Conductor | Benjamin Bayl

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My interpretation of La Clemenza di Tito is a psychologically and metaphysically deepened story about humanity — about the complexity and fragility of human nature. Tito is not just an emperor, but a man, fallible and self-reflective. At the heart of the opera is the trio Vitellia–Sesto–Tito, with Sesto at the center of the conflict. Their relationships are ambiguous, set against the backdrop of a violent and ruthless Roman world. But is it really ancient? The power of Shakespearean tragedy, Dostoyevsky’s literature, or great operatic works lies in their timelessness. Despite modern advancements — airplanes, the internet, space travel, AI — human nature has not changed. Desires and passions remain the same. Only the setting has changed, and manipulation has become more subtle and sophisticated.

The libretto becomes a starting point for reflection on our emotional and psychological condition in today’s world. Through this dissection, we may draw closer to that fragile, sensitive place within us that defies definition.

SYNOPSIS

ACT I

Ancient Rome, 1st century AD. The beautiful Vitellia, daughter of a deposed emperor, cannot bear the indifference of the current ruler, Titus, who is in love with Berenice, the daughter of the King of Judea. She persuades Sesto, who is in love with her, to assassinate the emperor. However, the emperor chooses Servilia — Sesto’s sister — as his new bride. But Servilia is already in love with Annio, Sesto’s friend. Meanwhile, Publio, the head of the Praetorian Guard, brings a list of conspirators to the emperor. Tito explains his philosophy of mercy. When Servilia honestly reveals her relationship with Annio, Tito respects her honesty and withdraws his proposal. Humiliated, Vitellia orders Sesto to burn the Capitol and assassinate the emperor. As soon as he leaves, she receives shocking news — Tito has chosen her as his future wife. Sesto, unaware, believes he has killed the emperor.

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ACT II

Sesto has mistakenly killed someone else — Tito is alive. Annio urges Sesto to return to the court and seek clemency. Sesto is ready to flee as an exile, but Annio pleads with him to stay. Vitellia, fearing for her own safety, urges Sesto to escape. But fate intervenes — Publio arrests Sesto and brings him before Tito. When questioned, Sesto confesses. The emperor must sign the death sentence but is torn — he doesn’t want to be a tyrant, yet must uphold justice. Tito calls on the gods: if they demand cruelty from a ruler, they must take away his human heart. Vitellia learns of the verdict. Servilia and Annio beg her to save Sesto. Struck by guilt, she confesses she was the one behind the conspiracy. In a powerful act of forgiveness, Tito grants clemency to all the conspirators. The Roman people celebrate, praising the emperor’s mercy and kindness, and pray for his long life.

During the overture, Benjamin Bayl conducts the MACV period-instrument orchestra with extraordinary attention to detail, deeply attuned to the dynamics, rhetoric, and character of each theme…

Anna Sroka-Hryń clearly understands this. Her fondness for striking visual imagery is evident, but it never overshadows the dramatic narrative. Instead, she discovers a physical language — of gesture and form — that makes the characters’ suffering deeply believable.

Adanya Dunn delivers an outstanding performance… capturing the immense torment of a young man driven to kill for love. She sings with seductive sensitivity and musical refinement, treating each phrase like a gem — with agogic precision and excellent diction. Impressive!

Jürgen Otten, Opernwelt

Anna Sroka-Hryń boldly discards the pomp and stiffness of traditional opera seria, creating a production centered on human passion, ambition, and concealed emotions…

Despite the production’s scale, the result is a deeply human and at times intimate story, with characters moving even among the audience. This intimacy is enhanced by the musicians of the MACV orchestra under Benjamin Bayl, and the vocal ensemble of WCO adds dramatic intensity.

Jacek Marczyński, Ruch Muzyczny 

Thanks to a coherent directorial vision and a perfectly cast ensemble, “La Clemenza di Tito” becomes not just a reconstruction of a classical drama, but a moving commentary on modern emotional, relational, and identity dilemmas. A production that not only captivates but also provokes reflection — truly worthy of opening the Mozart Festival.

Wiesław Kowalski, teatrdlawszytskich.eu

With “La Clemenza di Tito” at the Warsaw Chamber Opera, Anna Sroka-Hryń makes her operatic directorial debut. Her production focuses on psychology — carefully portraying the multifaceted nature of each character and scrutinizing their motivations…

Alina Ert-Eberdt, segregatoryaliny.pl