La Clemenza Di Tito


La Clemenza di Tito Album cover
W. A. Mozart


Mark Padmore (Tito)

Alexandrina Pendatchanska (Vitellia)

Bernarda Fink (Sesto)

Marie-Claude Chappuis (Annio)

Sunhae Im (Servilia)

Sergio Foresti (Publio)

René Jacobs

Freiburger Barockorchester, RIAS Kammerchor

Harmonia Mundi

Release date:
May 2006

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Awards: La Clemenza di Tito Awards: Grammy Nomination; R 10 Classica; un événement ffff — Télérama; Excepcional — Scherzo; Highest Rating — Classics Today dot com; Jahrespreis — Preis der Deutschen Schallplatten Kritik; Prix Caecilia — L'Union de la Presse Musicale Belge

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“Alexandra Pendatchanska is a spectacular Vitellia, taking the role's 2 1/3-octave range in stride and singing with a Slavic edge to the voice that clearly brings out the jealousy and looniness of Vitellia's more outlandish moments. But she delivers ‘Non piu dei fiori’ gently and with lovely legato.” Robert Levine, “Rene Jacobs's splendid recording of this opera arrives after Charles Mackerras's set featuring Magdalena Kozena. Here the singing honours are more evenly spread, and the Freiburg Baroque Orchestra's period instruments add terrific punch. The revelation is the Bulgarian Alexandrina Pendatchanska, jaggedly dramatic as Vitellia. Eloquence shines from Bernarda Fink's Sextus, while Mark Padmore's emperor is intelligent and human” Geoff Brown, The Times, April 07 2006 “Jacobs and the Freiburg Baroque Orchestra make you sit up, with a clean set of voices led by Alexandrina Pendatchanska's Vitellia.” Andrew Clark, The Financial Times “Alexandrina Pendatchanska's dark timbre, dramatic conviction and ambitious ornaments make her villainous Vitellia formidable.” David Vickers, The Gramophone “Jacobs gives the score complete, including the much-reviled ‘dry’ recitatives, possibly by Mozart's assistant Suessmayer, which Jacobs gets his keyboard player to trick out with fanciful flourishes, including quotations from late Mozart piano concertos. Much else here is controversial. Jacobs plays fast and loose with tempo, but the performance has a more ‘theatrical’ feel, thanks to the temperamental central performance of the Bulgarian diva Pendatchanska as a hysterical Vitellia, a prima donna spurned and bent on revenge. Bernarda Fink's gloriously sung Sesto is another welcome addition to the Clemenza discography, while Mark Padmore's unfailingly stylish Tito sounds more at ease with the music than DG's Rainer Trost. Good support clinches it for a fascinating issue.” Hugh Canning, The Sunday Times, April 30 2006 “The recording (La Clemenza di Tito) features a most passionately intense and enthralling Vitelia (among some very strong contenders on CD) from the remarkable Alexandrina Pendatchanska and a noble and gloriously eloquent title-role from Mark Pedmore.” Phill Ward, Opera Now, May 2006 “Pendatchanska offers e fiery, spitfire Vitellia, one with both the histrionic powers and the vocal vitality to feel every bar of the role with vibrant meaning, and catching every nuance of Vitellia's volatile nature.” Alan Blyth, Opera, May 2006 “Alexandrina Pendatchanska as Vitellia uses her formidable chest register and flaming top notes to create a nearhysterical virago: less stylishly Mozartian than Martinpelto, but a performance of thrilling, daring theatricality.” Richard Wigmore, Telegraph, October 6 2006 “Vor allem Alexandrina Pendatchanska als Vitellia lotet alle Möglichkeiten stimmlicher Charakterisierungskunst aus, um die Ambivalenz dieses maßlosen Charakters nachzuzeichnen. Vom dräuenden Brustregister bis zum flirrenden Spitzenton reicht die Skala.” Online-Magazin Musik an sich “Das größtmögliche Gegenteil an Extrovertiertheit zeigt die mit Mut zur Charakter- und Stimmschärfe exponierte Vitellia von Alexandrina Pendatchanska. Von herb vibrierenden Tiefenregistern bis hin zu impulsiv explodierenden Spitzentönen reichen ihre vokalen Darstellungskünste.” Uwe Schneider,, 23.06.2006 “This is altogether a high-voltage performance, greatly helped by the vivid characterisation of Alexandrina Pendatchanska and Bernarda Fink in the central roles of Vitella and Sextus. I shall be returning to Jacobs's version of this still underrated masterpiece often.” Misha Donat, BBC Music Magazine, June 2006 “The outstanding contributions are those of Bernarda Fink as an agonised Sesto and Alexandrina Pendatchanska as a formidable Vitella. For too long Clemenza was sidelined as an inferior work. With his bracing, rejuvenated reading of the work, Jacobs places it firmly in the pantheon of masterpieces.” Barry Millington, The Evening Standard “The star performer here is the princess Vitellia, infatuated with love for the Emperor Tito, and ambitious for his throne. Mozart wrote the role for a specially imported italian diva of soprano and Alexandrina Pendatchanska more than measures up: histerical, icily determined and poisonously seductive by turns, using every second of her vocal ornamentation to reinforce each passing emotion.” Hilary Finch, BBC Music Magasine, January 2007 “La búlgara Pendatchanska ha sido un descubrimiento para mí. Su canto parece más flexible que el de Martinpelto (Mackerras), y se mueve con soltura y flexibilidad en ambos extremos de la tesitura, como puede comprobarse en el excelentemente cantado Su Non più di fiori. La suya es una Vitellia magnífica, en la línea de Varady (Gardiner) o Popp (Harnoncourt).” Scherzo, May 2006

The Best of the Year

MOST VALUABLE PLAYERS: Key individual contributions to the year's complete opera recordings included Christine Brewer as Isolde (Warner); Angela Denoke's radiant Sieglinde (Naxos); Plácido Domingo in Edgar (DG); William Ferguson's Truffaldino in The Love for Three Oranges (Chandos); the exquisite Karina Gauvin in Tito Manlio (Naïve); ageless Sheri Greenawald as ageless Mme. Altina in La Divina (Albany); Dorothea Röschmann, a sterling Pamina for DG; the paint-peeling ferocity of Alexandrina Pendatchanska's Vitellia in La Clemenza di Tito (Harmonia Mundi); and Johnny van Hal's double-act as Kafka and Josef K. in Kafka's Trial (Dacapo).” Opera News, January 2007 "La mezzosoprano bulgara Alexandrina Pendschatka constituye un verdadero descubrimiento, con una voz hermosa y bien timbrada, tecnica infalible, excelsa en el registro bajo y que nos ofrece una esplendida version del papel de Vitellia, con un color vocal siempre apropiado y una intensa interiorizacion y pasion interpretativa que nos hace recordar a Cecilia Bartoli. Los cantantes utilizan bellos ornamentos vocales, probablemente en parangon a lo que se permitian las figuras de la epoca.” CD compact, June 2006