The cast of la clemenza di Tito. Photo credit: Bill Cooper
Paul Nilon as Tito. Photo credit: Bill Cooper
Paul Nilon as Tito. Photo credit: Bill Cooper
Kathryn Rudge as Annio and Fflur Wyn as Servilia. Photo credit: Bill Cooper
Helen Lepalaan as Sesto and Annemarie Kremer as Vitellia. Photo credit: Bill Cooper
Helen Lepalaan as Sesto. Photo credit: Bill Cooper
Annemarie Kremer as Vitellia. Photo credit: Bill Cooper
Henry Waddington as Publio and Kathryn Rudge as Annio. Photo credit: Bill Cooper
Annemarie Kremer as Vitellia, Henry Waddington as Publio, Fflur Wyn as Servilia and Kathryn Rudge as Annio. Photo credit: Bill Cooper
Paul Nilon as Tito, Helen Lepalaan as Sesto and Fflur Wyn as Servilia. Photo credit: Bill Cooper
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Wolfgang Amadeus Mozart (1791)
New production
La clemenza di Tito is a tale of sexual obsession and divided loyalties, set in Ancient Rome. The powerful, alluring Vitellia has designs on the Emperor Tito, and is provoked to fury when he opts to marry someone else. She fans the flames of rebellion, and demands his assassination at the hands of her doting lover Sesto, Tito’s trusted confidant. Torn between loyalty to his friend and emperor and his fascination with the hypnotic Vitellia, Sesto makes a choice that tests Tito’s forgiving nature to breaking point.
Composed for the coronation celebrations of the new Emperor of Bohemia, La clemenza was famously described by Mozart as his ‘true opera’ due to its noble subject and its rich, varied music. Mozart received the commission for Tito when he was already underway with The Magic Flute, and both works’ stirring melodies, colourful ensembles and unforgettable choruses share the directness and simplicity typical of his late style.
John Fulljames, Associate Director of Opera at the Royal Opera House, directs Opera North’s first production of Mozart’s sublime opera seria. Annemarie Kremer, who stunned audiences and critics in her spellbinding performance as Norma last year stars in an outstanding cast including Opera North favourites Paul Nilon, Kathryn Rudge and Fflur Wyn.
Sung in Italian with English titles
Lasts approximately 2 hours 45 minutes
Supported by the Friends of Opera North
A co-production with Opéra national de Lorraine, Nancy
Click on a venue below to find out more information.
We’ve teamed up with Piazza by Anthony in Leeds to offer you an exclusive pre-theatre menu. Enjoy 2 Courses for £17.95 or 3 Courses for £21.95. Please use the promotion code ‘OPERANORTH’ when booking your table online or by calling 0113 2470995. This special offer is also available without booking, simply turn up and show your opera tickets to the receptionist.
Available from 4pm until 7pm every night between Wednesday 16th January and Saturday 23rd February 2013 , and From 12pm until 4pm on Saturday 16th and Sunday 17th February 2013. Only valid on the day of the performance your ticket is for. Not to be used in conjunction with any other offer.
Enjoy 20% off your bill at Sandinista (Cross Belgrave Street - New Briggate) on presentation of your Opera North ticket when placing their food order. To book a table call 0113 305 0372. Food is served till 10pm through the week with final orders at 9pm Friday and Saturday. Only valid on the day of the performance their ticket is for. Not to be used in conjunction with any other offer.
Just a short walk from the theatre, another fantastic dining option is The Reliance (76-78 North Street).Treat yourself to the pre-theatre menu served between 5:30 and 6:30pm, Mon - Sat. Enjoy 2 courses for £13.95 or 3 courses for £17.90. Call 0113 2956060 to book a table.
Why not make a night of it and enjoy a pre-show meal at The Lowry Restaurant? You can have your theatre programmes delivered to your table, pre-order your interval drinks or return for dessert and coffee during the interval. Call 0161 876 2121 to reserve your table.
Enjoy a two course pre-theatre meal at Pasqualino’s for just £15.50 or £13 for Friends. Available 5.30pm. Call the Box Office on 08448 11 21 21 to book.
Offer cannot be used in conjunction with any other offer. T&Cs apply.
Although it is today much less popular than Mozart’s biggest works, La clemenza di Tito was in fact the first Mozart Opera that was shown in London. Receiving its première there at His Majesty's Theatre on 27 March 1806
Full information can be found here.
On sale dates for Leeds Grand Theatre
Booking for fixed subscriptions opens 28 May and booking for multibuy ticket packages opens 18 June. Priority booking for Friends of Opera North and Groups opens 9 July.
All tickets will be on public sale on 16 July 2012.
On sale dates for The Lowry
Booking for multibuy ticket packages opens 14 June. Priority booking for Friends of Opera North and My Lowry opens 28 June.
All tickets will be on public sale on 5 July 2012.
On sale dates for Theatre Royal Nottingham
Booking for multibuy ticket packages opens 11 June. Priority booking for Friends of Opera North opens 25 June.
All tickets will be on public sale on 2 July 2012.
All discounts are subject to availability and may be withdrawn at any time. Discounts cannot be used retrospectively. Only one discount per ticket. Proof of eligibility must be shown.
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Comment from Rowan Harwood
Rowan Harwood said ago
Saw this last night in Nottingham. Superb show, great singing and acting. Production was also a hit for me. You have to put some imagination and interest in to make Opera Seria work on stage; it wasn't obtrusive, and flowed well. In addition, I wanted to add my appreciation of Douglas Boyd's superb conducting
Comment from Brian Dotson
Brian Dotson said ago
It was a pleasure to be at the Grand Theatre, Leeds again last Thursday to hear ‘La Clemenza di Tito’.
From the opening notes of the overture one sensed a production that was not just going to be ‘run of the mill’ but with a bit of bite & characterisation in it. There were a few rough patches but totally understandable on an opening night but the concept held firm. How good it was to see these characters as real people & not just ‘stand & deliver’ artists.
I found some of the singing deeply moving none more so than Helen Lepalaan as Sesto. Equally the scheming Vitellia of Annemarie Kremer saw what a nasty piece of work she was although she did show repentance at the end with the shards of glass – a clever touch!
I don’t think I have heard Paul Nilon sing with such conviction. He seemed totally wrapped up in the role and delivered his part effortlessly.
I could go on for ages extolling the virtues of this John Fulljames production. It was a terrific show & I hope audiences on its tour enjoy it as much as I did. A great night out!
I am looking forward to returning for Handel’s ‘Joshua’.
Comment from merrin froggett
merrin froggett said ago
Well done Opera North, this production held us on the edge of our seats as the dramatic tension played out. It was so well paced and the clever staging kept the action flowing. The singers presented their characters superbly with great depth of understanding and the singing was never less than sublime and particularly moving. The orchestra was wonderful in support, being both dramatic and sensitive. The themes of the story were brought up to date cleverly by both staging and costuming, making the action seem fully resonant with modern society.
Comment from Donald
Donald said ago
I loved this and not only because I've been a fan of Paul Nilon, Kathryn Rudge and Douglas Boyd for many years now. Musically superb - loved the clarinets - and very relevant. Of course, you MUST update operas - not every time, but sometimes. However you stage it doesn't excuse the rudeness of a man near me who spoiled the overture with a loud comment 'looks like a fish tank!" The discussion beforehand on Sat was very illuminating, but I'm sure the rationale was in the programme - sorry, I didn't buy one, so it does pay for audiences to gen up. I certainly wouldn't call it incomprehensible - in fact it was the most comprehensible Tito I've seen and much improved by not having togas and clutter. Above all, Mozart's dramatic timing - why some people think items are truncated - became very telling, while spinning out the arias while Tito decided whether Sesto should die was agonising. It really got to the heart of what power and mercy are about - and ON made it as relevant today as it was in Ancient Rome or in the 1780s when revolution was in the air. Brilliant!
Comment from dermot stewart
dermot stewart said ago
A splendid evening. The set was fascinating, simple but slowly changing to enhance the story. Lovely singing and playing -particularly the clarinet parts, and good movement by the singers. One of the best, if not so overwhelming as Carousel.
Comment from Stephen Waldek
Stephen Waldek said ago
It was great to hear this rarely produced opera. We thought that the singing, design and orchesteral playing were superb, An excellent production all round. One of te best Opera North productions we have heard in recent years.
Comment from Sean
Sean said ago
It was good to get to hear a work that does not appear very often. Some nice singing.. but I have absolutely no idea what "concept" the director had. It was a weird, unattractive and incomprehensible production. Note: next time you want to update an opera... just don't. It is always a mistake.
Comment from Jim and Jill Bolland
Jim and Jill Bolland said ago
We really enjoyed this production much more than we expected. Clever use of scenery, and such lovely voices meant you could not but have a good time.
Couldn't understand the mammoth face of Tito that appeared when the Opera North chorus were singing Tito's praises!
Comment from Rachel Lackey
Rachel Lackey said ago
This was exquisite. I have rarely seen something so gripping, moving and profound.