With La Clemenza di Tito, Mozart returned, a few months before his death, to opera seria, a genre which he had shunned since Idomeneo. Composed in parallel with the ground-breaking Magic Flute,and shortly before his Requiem, La Clemenza is a stunning illustration of the revival of a genre of repertoire which was then in decline. For a long time, it was unfavourably compared to the daring approach which had ensured the success of his Nozze and Don Giovanni, but the work actually contains some of Mozart’s finest passages. Charismatic Teodor Currentzis established his Mozart credentials with his highly acclaimed Da Ponte trilogy, which he has recently recorded for Sony. He has a sense of momentum, blending musical inventiveness and theatrical exuberance into a delightful cocktail which Mozart himself would not have spurned.
Mariinsky Theatre: 
Mariinsky-2 (New Theatre): 
Mariinsky Concert Hall: 
