For soprano with 1 flute, 2 oboes, 2 bassoons, 2 horns in A, and strings

Program Notes by Martin Pearlman

Commissioned for Leopold II's coronation as king of Bohemia, La clemenza di Tito received its premiere in Prague on September 6, 1791.  For the most part, the cast was hired from the local opera troupe, but the contract called specifically for the hiring of a prominent composer, a prima donna, and a well known musico (one of the common euphemisms for "castrato").  The preferred composer was Salieri, but he was busy with other work and declined the offer.  Mozart was the second choice.  He was popular in Prague after the enormous successes of Figaro and Don Giovanni and, needing the work, took time out from composing The Magic Flute to fulfill the new commission.  Some of his early sketches suggest that he may have originally thought that the role of Sesto would be given to a tenor, but the impresario instead assigned that role, rather than the title role of Tito, to the distinguished castrato required by the contract.  Domenico Bedini (1745-1795), for whom Mozart wrote Sesto's brilliant arias, was nearing the end of his career, and Niemetschek, one of Mozart's earliest biographers, complained that he sounded "wretched."  On the other hand, Mozart wrote to his wife following one performance that "Bedini sang better than ever." 

As he sings the aria Deh per questo istante solo, Sesto is with the emperor Tito (Titus).  He has led an abortive rebellion against his friend but cannot reveal that Vitellia, whom he loves, was behind the plot.  Tito reluctantly sentences Sesto to death.  Before being led away, Sesto sings this aria to Tito, reminding him of their former love for each other and expressing his regret and despair.  It begins with a sublime Adagio and becomes increasingly agitated, with the music accelerating to Allegro and then to Più allegro.

Boston Baroque Performances

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