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Mozart: La clemenza di Tito, K621
Richard Croft (Tito), Anna Stéphany (Sesto), Alice Coote (Vitellia), Michèle Losier (Annio), Joélle Harvey (Servilia), Clive Bayley (Publio); Orchestra of the Age of Enlightenment, The Glyndebourne Chorus, Robin Ticciati, Claus Guth
Croft’s mature acting and ardent singing vividly bring to life Tito’s torn emotions…The cruel manipulation by Alice Coote’s psychotic Vitellia of Anna Stéphany’s puppyish Sextus is painful to...
Mozart: La clemenza di Tito, K621
Richard Croft (Tito), Anna Stéphany (Sesto), Alice Coote (Vitellia), Michèle Losier (Annio), Joélle Harvey (Servilia), Clive Bayley (Publio); Orchestra of the Age of Enlightenment, The Glyndebourne Chorus, Robin Ticciati, Claus Guth
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Croft’s mature acting and ardent singing vividly bring to life Tito’s torn emotions…The cruel manipulation by Alice Coote’s psychotic Vitellia of Anna Stéphany’s puppyish Sextus is painful to...
About
Mozart's final opera returns to Glyndebourne after an absence of nearly 20 years in a 'stark, compelling and very well acted' production directed by Claus Guth. Richard Croft sings the title role 'with exemplary stylistic poise and tonal sweetness', and Anna Stéphany is a Sesto 'touchingly full of angst and remorse... with terrific élan and immaculate technical control' in the arias (The Telegraph) - her 'Parto, Parto' 'simply breathtaking' (The Guardian). Guth's vision sets the 1st-century Roman story in a two-storey office suite bureaucracy 'exquisitely lit by Olaf Winter', aptly framing the scheming of Vitelia, sung by Alice Coote 'in terrific form'. The OAE under Robin Ticciati 'brings out the sheer beauty' of Mozart's score (Express).
Contents and tracklist
- Richard Croft (Tito), Anna Stéphany (Sesto), Alice Coote (Vitellia), Michèle Losier (Annio), Joélle Harvey (Servilia), Clive Bayley (Publio)
- Orchestra of the Age of Enlightenment, The Glyndebourne Chorus
- Robin Ticciati, Claus Guth
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Awards and reviews
September 2018
Croft’s mature acting and ardent singing vividly bring to life Tito’s torn emotions…The cruel manipulation by Alice Coote’s psychotic Vitellia of Anna Stéphany’s puppyish Sextus is painful to observe, yet their respective trajectories to nobly selfless lover and penitent heroine are etched to perfection…Guth’s production is rewarding and insightful. Robin Ticciati’s conducting is briskly rhythmical and episodic.