APPROXIMATE TIMINGS
The performance will last approximately 2 hours 25 minutes, including one interval
ACT I 55 minutes INTERVAL 25 minutes THE ROYAL OPERA ACT II 1 hour and 5 minutes Music Director SIR ANTONIO PAPPANO Director of Opera OLIVER MEARS COVID-19 SAFETY GUIDELINES
We want to welcome you back into the building in a way that keeps you, our staff and our artists safe. All visitors must wear a face covering over their nose and mouth unless exempt for medical reasons. Staff will be wearing face coverings at all times.
There is a one-way system in place. Visitors with tickets can enter via Bow Street. Regular cleaning is taking place, with particular attention to high-touch areas such as bannisters and toilets. Hand gel will be available throughout the building. LA LANGUAGE CLEMENZA Sung in Italian with English surtitles
DI TITO CAST
Titus EDGARAS MONTVIDAS Sextus EMILY D’ANGELO Vitellia NICOLE CHEVALIER Annius ANGELA BROWER Servilia CHRISTINA GANSCH Publius JOSHUA BLOOM Senators JEREMY WHITE, GEORGE FREEBURN Berenice FUMI KANEKO OPERA IN TWO ACTS Conspirators AMANDA BALDWIN, TIM PARKER- LANGSTON, NICHOLAS SHARRATT Guards ANDREW CARTER, DAVY QUISTIN Music WOLFGANG AMADEUS MOZART Libretto PIETRO METASTASIO adapted by CATERINO MAZZALO
Director RICHARD JONES Conductor MARK WIGGLESWORTH Designer ULTZ Lighting designer ADAM SILVERMAN Movement director SARAH FAHIE
ROYAL OPERA CHORUS Chorus Director WILLIAM SPAULDING
ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master SERGEY LEVITIN
Season Principal MRS ALINE FORIEL-DESTEZET Generous philanthropic support from SIR MICK AND LADY BARBARA DAVIS AND THE FRIENDS OF COVENT GARDEN
FRIDAY 21 MAY 2021 AT 7PM SYNOPSIS PRODUCTION INFORMATION
Enraged that the emperor Titus has not chosen her as his This production has been rehearsed, staged, and performed bride, Roman noblewoman Vitellia persuades Titus’s best within strict COVID-safe conditions. To ensure the safety friend Sextus (who is in love with her) to assassinate the of artists and creative teams, and to prevent the spread of COVID-19, mitigations have included maintaining Emperor. Sextus engulfs the Capitol of Rome in flames, but in social distancing in the rehearsal studio, wearing face the confusion attempts to kill the wrong man. coverings and regular testing for all involved. Testing has been administered privately and at no expense to the Sextus is arrested and refuses to implicate Vitellia. Titus, NHS. Scenes that are particularly physical or that involve however, cannot bring himself to condemn his best friend to closer proximity have been minimised, risk-assessed death, and is about to pardon Sextus when Vitellia admits her and rehearsed only on stage. guilt and her motive. Titus forgives her as well, and all join to celebrate the redemptive power of his clemency. THE ROYAL OPERA
Patron HRH THE PRINCE OF WALES PRODUCTION CREDITS Music Director SIR ANTONIO PAPPANO Director of Opera Music preparation RICHARD HETHERINGTON, MARK OLIVER MEARS PACKWOOD, SUSANNA STRANDERS, MICHAEL Director of Casting PETER MARIO KATONA PAPADOPOULOS* Administrative Director CORMAC SIMMS Assistant directors DAN DOONER, MATHILDA DU TILLIEUL MCNICOL Harpsichord MARK PACKWOOD Language coach (Italian) BARBARA DIANA ROYAL OPERA HOUSE Opera stage management EMMA TURNER, SARAH RECOVERY CAMPAIGN WALING, JONATHAN HARDEN, ALEX WELTIKE Production manager Live performance is a shared experience, and our audiences MATT NODDINGS are at the heart of what we do on our stages, backstage, Model room draughtsperson online, in cinemas and in our communities. Since March CLAIRE MEAKIN 2020 we have lost £3 in every £5 of our income and we are hugely grateful for all the support we have received, Associate Set Designer MARK SIMMONDS including from Arts Council England and government, and Associate Costume Designer KRISTEN DEMPSEY from you, our generous audiences. Costume supervisor ZEB LALLJEE Last September we launched our fundraising Recovery Directed for the screen by PETER JONES Campaign, which continues to form a vital part of our long journey back to a fully functioning and sustainable theatre. *JETTE PARKER YOUNG ARTIST Please consider making a donation to help us secure the future of ballet and opera.
roh.org.uk/donate