'Magnificently dramatic'

The Stage


The Sunday Times
  • Details

    Spurned by Tito, Vitellia seeks revenge. Besotted Sesto agrees to avenge her as a token of his love, but all does not go to plan. A brand new take on one of Mozart’s final works.

    Best availability on 11 and 13 August.

    A story of treachery, guilt and mercy

    Vitellia’s path to the throne is thwarted by the man who deposed her father, so she presses her admirer Sesto to murder him.

    Sesto is caught in an agonising dilemma, for the man in question is not only his best friend but also his sovereign.

    Driven by love, Sesto does his worst. But in return, receives a lesson in forgiveness.

    Mozart’s last opera

    Conducted by Robin Ticciati and directed by Claus Guth, Mozart’s last opera delivers all of the sublime musical beauty and heart-tugging humanity we expect of him.

    Loosely based on the life of the Roman Emperor Titus, La clemenza di Tito distills the suspense of Don Giovanni, the warmth of Le nozze di Figaro, and the nobility of Die Zauberflöte into one powerful parable of love and friendship, vengeance and mercy.

    Sung in Italian with English supertitles.

    You can see La clemenza di Tito live in cinemas on Thursday 3 August.

    Enrich your experience

    Insider talk
    Dressing an opera – the costumes and props of La clemenza di Tito, Monday 31 July

    Study event
    La clemenza di Tito: Mozart’s ‘real opera’, Sunday 6 August

    Pre-performance talk
    Join us for a bite-sized overview of the opera on Wednesday 16 August

    La clemenza di Tito is generously supported by a Syndicate of Individuals.

  • Cast and creative team

    Creative team

    Conductor Robin Ticciati
    Director Claus Guth
    Designer Christian Schmidt
    Lighting designer Olaf Winter
    Projection designer Arian Andiel
    Dramaturg Ronny Dietrich

    Orchestra of the Age of Enlightenment
    Leader Matthew Truscott

    The Glyndebourne Chorus
    Chorus Master Jeremy Bines

    Fortepiano Continuo Ashok Gupta
    Cello Continuo Luise Buchberger


    Vitellia Alice Coote
    Sesto Anna Stéphany
    Annio Michèle Losier / Rachel Kelly (19, 21 August)
    Publio Clive Bayley
    Tito Richard Croft
    Servilia Joélle Harvey

    Published by Bärenreiter-Edition Kassel
    Performed by arrangement with Faber Music Ltd, London

  • Dates and times


    Date Start Long interval Finish Price band
    Wed 26 July 4.50pm 6.05pm 8.40pm 2
    Sat 29 July 5.20pm 6.35pm 9.10pm 1
    Mon 31 July 4.50pm 6.05pm 8.40pm 2


    Date Start Long interval Finish Price band
    Thu 3 August 4.50pm 6.05pm 8.40pm 2
    Sun 6 August 4.35pm 5.50pm 8.25pm 1
    Tue 8 August 4.50pm 6.05pm 8.40pm 2
    Fri 11 August 4.50pm 6.05pm 8.40pm 1
    Sun 13 August 4.35pm 5.50pm 8.25pm 1
    Wed 16 August 4.50pm 6.05pm 8.40pm 2
    Sat 19 August 4.50pm 6.05pm 8.40pm 1
    Mon 21 August 4.50pm 6.05pm 8.40pm 2
    Thu 24 August 4.50pm 6.05pm 8.40pm 2
    Sat 26 August 4.50pm 6.05pm 8.40pm 1

  • Synopsis

    Rome, 1st century AD

    Act I

    Vitellia, daughter of the former emperor of Rome who was deposed by the present Emperor Tito’s father, wishes to regain the throne as Tito’s consort. But her hopes are dashed when she learns that Tito plans to marry the Judean princess Berenice. Vitellia persuades Tito’s dearest friend Sesto, who is in love with her, to assassinate the Emperor. But when Vitellia hears that Tito has renounced Berenice in order to grant his subjects’ wish for a Roman empress, her hopes are revived and she calls off the murder plot.

    Tito has now chosen Sesto’s sister Servilia as his bride, and sends Sesto’s friend Annio to inform Servilia. Annio and Servilia, unbeknownst to Tito, are in love, so they are dejected at this news. Servilia is prepared to obey her Emperor, but she decides to tell him the truth. Touched by Servilia’s honesty, Tito relinquishes her and blesses her betrothal to Annio.

    When Vitellia learns of Tito’s plan to marry Servilia, she once again urges Sesto to assassinate the Emperor. Just after Sesto leaves to do the deed, Annio and the guard Publio arrive to escort Vitellia to Tito, who has now chosen her as his empress. Vitellia regrets sending Sesto on his murderous mission, but it is too late.

    While Sesto is still reluctant to carry out the attack, the Capitol is set on fire. It is the agreed sign to overthrow the emperor. Sesto has no choice. While the flames spread, the Roman people express their terror. When Sesto tells Vitellia that Tito is slain, she begs him not to divulge their guilt. All of Rome laments the tragic events.

    Act II

    In the imperial palace, Annio informs Sesto that Tito is still alive; amid the smoke and flames, Sesto had mistaken another man for the Emperor. Sesto confesses his assassination attempt, though he refuses to give any reason. Annio counsels him to confess to Tito and rely upon his mercy. Vitellia urges Sesto to flee, but it is too late: a fellow conspirator has betrayed him, and Publio enters to arrest him.

    The Roman people thank the gods for sparing their Emperor. Tito can neither comprehend the motives of the conspirators nor believe that Sesto would betray him, but is then informed that Sesto has admitted his guilt before the Senate. Annio implores Tito to treat Sesto with compassion. The Emperor refuses to sign the death decree until he has given Sesto a chance to explain himself. Sesto admits his crimes to Tito but declines to implicate Vitellia. Tito reluctantly condemns Sesto to death. Left alone, the Emperor is torn between his duty and his feelings, concluding that he can reign only if his power is rooted in love. Annio and Servilia beg Vitellia to use her influence as Tito’s consort to help save Sesto. Vitellia realises that she must admit her guilt rather than win the throne at the cost of Sesto’s life.

    At the arena where the conspirators are about to be executed, Tito is about to pardon Sesto when Vitellia arrives and confesses her guilt. Once again mastering his mixed emotions, Tito pardons Vitellia, Sesto, and all of the co- conspirators. As Tito’s subjects praise him, he declares that the gods may take his life on the day when Rome’s well-being is no longer his highest priority.