This opera marked an important new path for the composer. Mozart had to enjoy this cliffhanger of a triumph from a distance, since he had returned to Vienna two weeks earlier to oversee final preparations for the premiere of The Magic Flute. La clemenza di Tito enjoyed only a moderate reception at first, due in large part to deficiencies in the casting, but audiences gradually warmed to it, and its final performance, on September 30, was a resounding success. He gladly accepted, plunging into a flurry of composition that continued until the eve of the performance, which took place on September 6. THE BACKSTORY Mozart had finished almost all of The Magic Flute during the spring and early summer of 1791 when, in July, he was invited to compose an opera to Metastasio’s already much-used libretto La clemenza di Tito, for the festivities surrounding the coronation in Prague of Emperor Leopold II as King of Bohemia. INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings US PREMIERE: The first full production in the US was mounted in New York on Apthe Overture had, however, been played in New Orleans as early as January 1806
WORLD PREMIERE: The world premiere occurred only two days after the work was entirely completed, at Vienna’s Freihaustheater auf der Wieden
Salzburg, AustriaĬOMPOSED: He wrote his opera Die Zauberflöte ( The Magic Flute) to a libretto by Emanuel Schikaneder, mostly between April and July of his final year, although the opera’s Overture and its Act II March of the Priests were apparently completed later, since in his personal catalogue Mozart dated them September 28 Joannes Chrisostomus Wolfgang Gottlieb Mozart (He began to call himself Wolfgango Amadeo about 1770 and Wolfgang Amadè in 1777)īORN: January 27, 1756.
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