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Mozart: La Clemenza Di Tito [DVD] [2006]
 
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Mozart: La Clemenza Di Tito [DVD] [2006]

DVD ~ Mozart
4.0 out of 5 stars  See all reviews (1 customer review)
RRP: £24.99
Price: £17.98 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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What Do Customers Ultimately Buy After Viewing This Item?

Mozart: La Clemenza Di Tito [DVD] [2006]
62% buy the item featured on this page:
Mozart: La Clemenza Di Tito [DVD] [2006] 4.0 out of 5 stars (1)
£17.98
Mozart: La Clemenza Di Tito [DVD] [1991]
13% buy
Mozart: La Clemenza Di Tito [DVD] [1991] 4.0 out of 5 stars (1)
£29.98
Mozart: La Clemenza di Tito -- Glyndebourne [DVD] [1991]
9% buy
Mozart: La Clemenza di Tito -- Glyndebourne [DVD] [1991] 3.0 out of 5 stars (2)
Mozart - La Clemenza Di Tito [DVD] [1984]
8% buy
Mozart - La Clemenza Di Tito [DVD] [1984] 5.0 out of 5 stars (2)
£19.59
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Product details

  • Format: AC-3, Classical, Colour, Dolby, DTS Surround Sound, DVD-Video, PAL, Subtitled, Widescreen
  • Language English
  • Subtitles: English, French
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • Classification: Exempt
  • Studio: TDK
  • DVD Release Date: 2 May 2006
  • Run Time: 160 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • ASIN: B000F6YWYO
  • Amazon.co.uk Sales Rank: 66,440 in DVD (See Bestsellers in DVD)

    Popular in this category:

    #68 in  DVD > Musicals & Classical > Opera > Composers > Offenbach

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Customer Reviews

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Average Customer Review
4.0 out of 5 stars (1 customer review)
 
 
 
 
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Most Helpful Customer Reviews

 
3 of 3 people found the following review helpful:
4.0 out of 5 stars A modern Tito setting new standards, 25 April 2009
It is surprising to note that there are at least half a dozen
productons of this opera currently available on DVD, a situation
which, I would suggest refutes the notion that this underrared
masterpiece is just a rushed and second rate piece from Mozart's
operatic repertoire. Although the opera itself may lack dramatic
imagination and truly credible characters, the music contained
in this work is often first-rate Mozart, interfused with moments
of heartflet emotion and subtly beauty.

I believe that this opera's strength stems from its imperfection,
as opposed to the Da Ponte operas where supreme musical perfection
can sometimes overshadow the essential human element.
This is highlighted during the duets between Sesto and Vitellia,
and Annio and Servilia when the great music of this work succeeds
in portraying the impassioned fragility of the two sets of lovers.
And at the centre of the whole piece we have Tito himself,
an isolated ruler who is only just too aware of the repressive
burdens of state and duty which just add to his emotional
distancing from the outside world. Michael Schade in the title
role, succceeds in highlighting Tito's personality in regard to
his subjects, it is a personality that reflects the reality of any
situation in which a ruler has to balance a sense of personal
loyalty towards close friends on the one hand, and the overriding
sense of duty towards matters concerning the well being of the state
on the other.

The casting of the other parts appeared on the whole to have been
inspirational. Dorothea Roschmann makes a very credible if
somewhat over-eager Vitellia. Vitellia's parnter in crime, Sesto,
is played by the ever-reliable Vesselina Kasarova, a renowned
master of the 'Trouser Role' whose shear androgynous presence
usually lends great weight to any operatic production in which
this form of character is required. As far as I am concerned
however, it is Elina Garanca in the role of Annio who makes
the greatest impression both visually and in terms of interaction
with the other characters. This is most evident during the Act One
duet between Annio and Servilia {played by a convincing Barbara
Bonney} when both singers tenderly reflect the delicate emotionality
of both characters through great singing and simply but subtle
acting, which gives the whole duet a sense of spiritual as well as
physical eroticism.

The concept of turning the stage into a kind of giant Doll's House
tends on the whole to portray the mood of isolation running through
this production, however, such a concept was counterproductive
during the Act One finale when, in most productions all the
protaginists are brought together to unite in their sense of
despair, thereby adding to the emotional impact of the music.
By having the main characters in different boxes this impact
was somewhat negated. Such a situation is just a minor drawback
in an otherwise first-class production, enhanced by great sound
and a good choice of subtitles. All in all, highly recommendable
enterainment and another fine example of the power of 18th century
opera to stimulate, arouse and enlighten mankind in such a
way that makes it hard to refute the theory that 'The best things
in Life really are Desire and the Music of the 18th Century'.
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