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Updated: May 31, 2025
Mozart's next opera, 'La Clemenza di Tito, was hastily written, while he was suffering from the illness which in the end proved fatal. The libretto was an adaptation of an earlier work by Metastasio. Cold and formal, and almost totally devoid of dramatic interest, it naturally failed to inspire the composer.
"And do you imagine she will intrust her money to one of your age and sex, whom she knows so imperfectly, to administer to the wants of one whom she found in such a house as Mrs. Villars's? She never will. She mentioned her imprudent engagement to meet you, but she is now warned against the folly of such confidence. "You have told me plausible stories of yourself and of this Clemenza.
The opera was produced at Prague on the 6th of September, 1791, and the cold reception which it experienced did much to embitter the closing years of Mozart's life. 'Die Zauberflöte, his last work, was written before 'La Clemenza di Tito, though not actually produced until September 30, 1791.
I will be her almoner. I will provide the wretched stranger with food and raiment and dwelling; I will pay for all, if Mrs. Fielding, from her superfluity, will supply the means. Clemenza shall owe life and honour to your friend, till I am able to supply the needful sum from my own stock." While thus speaking, my companion gazed at me with steadfastness: "I know not what to make of you.
I stopped ten minutes at the house of " "Mrs. Villars?" "The same. Perhaps you know her and her character. Perhaps you can confirm or rectify my present opinions concerning her. It is there that the unfortunate Clemenza abides. It is thence that I wish her to be speedily removed." "I have heard of you; of your conduct upon that occasion." "Of me?" answered I, eagerly. "Do you know that woman?"
The thought suddenly occurred that this girl might be in circumstances not unlike those of Clemenza Lodi; that she was not apprized of the character of her associates, and might by this meeting be rescued from similar evils. This suspicion filled me with tumultuous feelings. Clemenza was for a time forgotten.
The fate of Clemenza Lodi was not, perhaps, more signal than many which have occurred. It threw detestable light upon the character of Welbeck, and showed him to be more inhuman than the tale of Mervyn had evinced him to be. That man, indeed, was hitherto imperfectly seen. The time had not come which should fully unfold the enormity of his transgressions and the complexity of his frauds.
She does not sing as well as she acts, and is the wife of a violin-player at the opera. Her name is Masci. The opera was the "Clemenza di Tito." Seconda donna not ugly on the stage, young, but nothing superior. Primo uomo, un musico, Cicognani, a fine voice, and a beautiful cantabile. The other two musici young and passable. Ballerino primo good, but an ugly dog.
The fulness of my fancy renders my eye vacant and inactive. Sensations do not precede and suggest, but follow and are secondary to, the acts of my mind. There was one motive, however, which made me less inattentive to the scene that was continually shifting before and without me than I am wont to be. The loveliest form which I had hitherto seen was that of Clemenza Lodi.
"To indulge an adventurous spirit, I left the precincts of the barn-door, enlisted in the service of a stranger, and encountered a thousand dangers to my virtue under the disastrous influence of Welbeck. Afterwards my life was set at hazard in the cause of Wallace, and now am I loaded with the province of protecting the helpless Eliza Hadwin and the unfortunate Clemenza.
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