La Clemenza di Tito, K. 621; No. 21: Act II, Recitative e Aria: S'altro Che Lagrime Cover Image

La Clemenza di Tito, K. 621; No. 21: Act II, Recitative e Aria: S'altro Che Lagrime: Serious Opera Score

$8.00 USD

La Clemenza di Tito, K. 621; No. 21: Act II, Recitative e Aria: S'altro Che Lagrime: Serious Opera Score

Name: La Clemenza di Tito, K. 621; No. 21: Act II, Recitative e Aria: S'altro Che Lagrime: Serious Opera Score
Brand: Alfred Music
SKU: 36-E139401
Price: 8.00 USD
Availability: InStock

By Wolfgang Amadeus Mozart/ Italian libretto by Caterino Mazzolà, after Pietro Metastasio

Item: 36-E139401

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La Clemenza di Tito (The Clemency of Titus), K. 621 was written by Wolfgang Amadeus Mozart (1756-1791) in 1791 after he had almost finished Die Zauberflöte (The Magic Flute). Commissioned to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia, it was written very quickly and was considered to be a weaker work by the young composer. In the 20th century, a reevaluation of the opera has resulted in its inclusion among the fifty most often staged works in the repertoire. Telling the story of the Roman Emperor Titus, and the mercy he showed to his would-be assassins, the original three-act libretto by Pietro Metastasio was adapted by numerous other composers, although Mozart's two-act version was revised by Caterino Mazzolà. Near the end of the second act, Vitellia expresses to her sister, Servilia, how guilty she feels for orchestrating the failed assassination attempt on Titus, as Sesto is sentenced to death to protect her. Servilia then sings the aria S'altro Che Lagrime (sometimes spelled S'altro Che Lacrime), pointing out that tears alone will not save Sesto. The soprano aria is among the most popular in the opera, which premiered in Prague at the Estates Theatre on September 6, 1791. Instrumentation: 1.1.0.1: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Sop. (vocal score not included).

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Series: Kalmus Opera Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-88-852669-2

ISBN13: 979-8-88-852669-9

UPC: 676737922702

SKU: 36-E139401

Instrumentation: 1.1.0.1: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Sop.

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) composed La Clemenza di Tito in the summer of 1791, completing it in fewer than three weeks for Leopold II's coronation celebrations in Prague. By this time, Mozart had already established himself as one of Europe's most accomplished operatic composers, having created works of unprecedented harmonic sophistication and dramatic power across multiple genres.

Mozart's final operatic year saw him juggling competing commissions with characteristic intensity. Even as he rushed to finish Tito, he was composing Die Zauberflöte, and he would begin the Requiem before the year ended. Though some contemporaries dismissed Tito as hastily assembled, the opera reveals Mozart's mastery of both dramatic pacing and instrumental color, qualities that have secured its place in the standard repertoire and made individual arias like this one enduring favorites among singers and audiences.

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Why we love this

This aria sits at a crucial emotional turning point in Act II, and its melodic generosity rewards both the orchestra and the soloist. The orchestration showcases Mozart's gift for chamber-like clarity within a full ensemble context, making it an ideal choice for conductors who want to demonstrate how effectively a dramatic moment can be shaped without massive forces.

What to expect

The music unfolds with urgent lyricism, Servilia's voice soaring above the careful architecture of Mozart's orchestra in phrases that alternate between reflective beauty and passionate insistence. The orchestration carries an intimate quality despite the full ensemble, as if the drama of the moment requires precision and restraint rather than overwhelming force.

Who it's for

Orchestras performing complete or semi-staged versions of Tito will find this score essential, as will ensembles preparing concert excerpts from the opera. This aria also serves soprano soloists and coaches preparing the role of Servilia or studying Mozart's late operatic writing.

How to get the most out of it

Balance the solo soprano line against the oboe and first violins, which carry important obligato material; the aria works best when these lines remain transparent rather than lush.
Shape the recitative with conversational flexibility, allowing the harmonic rhythm to breathe between Vitellia's guilt and Servilia's response.
Take the aria's ornamentation as musical punctuation rather than virtuosic display; Mozart's divisions should serve the text and emotional arc.
Maintain consistent ensemble rhythmic integrity during the middle section, where harmonic movement slows and the texture becomes more vulnerable.

How to use it

This excerpt works well in an all-Mozart concert or as part of an opera gala featuring soprano arias. It pairs naturally with other late Mozart excerpts and provides a substantive yet manageable entry point for orchestras interested in programming operatic works beyond their typical concert season.