The Empress is said to have expressed herself very disdainfully concerning the "porcheria" of German music; and it is certain that the first performance of "Titus" was far from being a success.[ 39 ] Niemetschek is of opinion (p. 112) that the public were too excited by the gorgeous coronation festivities to be disposed to listen to the calmer beauties of Mozart's music. Mozart, accustomed to find consolation for so much slighting indifference in the enthusiastic applause of the Prague audiences, was thoroughly cast down by his failure; the more so as he was unwell when he arrived, and his indisposition had been increased by his extraordinary exertions. He was continually taking medicine and looked pale and depressed, although, as Niemetschek says, his gaiety shone forth bright as ever in the congenial society of his Prague friends; at his parting from the familiar circle he was so overcome as to shed tears.[ 40 ]
If it be true that "Cosi fan Tutte" is in all essential points an opera buffa, it is no less certain that "Titus" may take its stand as a veritable opera seria. Metastasio wrote "La Clemenza di Tito" in 1734, and it was performed with Caldara's music on the name-day of Charles VI.; it was subsequently set to music by several distinguished composers.[ 41 ] It is true that the public taste had so far altered that it was scarcely feasible to present it in its original form; but the improvements in the libretto, made by Caterino Mazzola, the Saxon court poet,[ 42 ] did not affect the character of the opera in any important degree. The principal change was the compression of the original three acts into two, and the omission of a not very happy episode, in which Annius, by a change of mantle, is taken for the guilty person. The course of the plot is thereby simplified; but it would be impossible by means of alterations to endow it with any lively dramatic interest. Nor is it rich in good musical situations; of all the characters Vitellia is the only one who displays the least passion; and the excessive amount of virtue and generosity depicted affords no field either for musical or dramatic interest. Further condensations were made of the numerous and, for the most part, rhetorically sententious solo airs, and ensemble movements were introduced at suitable points. This was accomplished with all possible deference to the original design and to Metastasio's verses, so that the character and colouring proper to a court festival piece was well preserved.[ 43 ] The following is a brief abstract of the plot:—(23); the duets (1, 3, 7), terzets (10, 14,18), the quintet (12), sestet (26), and the chorus (15); they retain for the most part Metastasio's ideas, and often his verses and turns of expression.
Vitellia, daughter of Vitellius, who has been deposed by Vespasian, has nourished the hope of a union with Titus, but finding herself disappointed, she wishes young Sextus, who is passionately in love with her, to form a conspiracy against his friend Titus, and by his overthrow to gain her hand. At the beginning of the opera she is urging her wavering lover to action, when Annius brings the unexpected tidings that Titus has banished his mistress Berenice from Rome. He entreats Sextus to obtain the consent of Titus to his union with Servilia, the sister of Sextus, who willingly promises his aid. After a magnificent assembly of the people, in which the generosity of Titus is publicly displayed, the Emperor himself demands from Sextus the hand of his sister Servilia; Sextus is confused and silent, but Annius, by his generous praise of the virtues and beauty of Servilia, strengthens the Emperor in his decision. Servilia, however, informed by Annius of the honour in store for her, assures him of her unalterable love, and, hastening to Titus, confesses to him the whole truth, whereupon he generously resigns her, and unites her to Annius. Vitellia, incensed to the highest degree by the proposed elevation of Servilia, directs Sextus and his coconspirators to proceed at once to action. He obeys, but has scarcely left her presence, when Publius, leader of her body-guard, enters, and summons her to the palace to bestow her hand upon Titus; she hastens to the palace in the utmost dismay and consternation. There is a general encounter in front of the capitol, which has been set on fire by the conspirators; great excitement prevails, and turns to grief and horror at the tidings brought by Sextus of the death of the Emperor, whom he believes himself to have slain.
In the second act, Sextus, a prey to remorse, confesses his guilt to Annius, who counsels flight, and is supported by Vitellia with an eye to her own safety; Publius enters and arrests Sextus on the testimony of some imprisoned conspirators. At a meeting of the senators, who bewail the death of Titus, the latter steps forth from among the people, throws off the disguise in which he had saved himself, and is recognised amid general rejoicings.[ 44 ] He knows that Sextus intended to assassinate him, and has been condemned to death by the senate, but summoning him to his presence, he offers him a free pardon in return for a full confession. Sextus, unwilling to inculpate Vitellia, maintains an obstinate silence, and Titus finally ratifies the sentence of death. Vitellia yields to the entreaties of Servilia to intercede with the Emperor for Sextus, renounces her hopes, and resolves to save him by confessing her own guilt. All being prepared in the amphitheatre for the execution of Sextus, it is about to take place, when Vitellia rushes in, and denounces herself as the originator of the revolt; Titus pardons her a well as Sextus and the conspirators; all present extol his clemency.
Both the plot and the characters are absolutely devoid of dramatic interest. The abstract goodness of Titus, who is ready on every occasion to pardon and to yield, rouses no sympathy,[ 45 ] and is dramatically mischievous in its effects, since it destroys any sort of suspense. Publius, Annius and Servilia are mere props in the plot, characters without any individuality. Sextus is a purely passive instrument, wavering between love and remorse, without force or decision. We should sympathise with him if his love for Vitellia were returned, and if a healthy passion gave an impulse to his crime; but his weakness, which prevents his being aware that he is only the instrument of her selfish passion, deprives him of all sympathy, while Vitellia repels us by her barefaced ambition, to which she is ready to sacrifice every sentiment and every duty; her remorse comes too late to appear anything but a dissonance leading to the inevitable conclusion of the plot. This internal weakness in the characters is emphasised by Metastasio's poetical treatment of the plot. His dainty style was specially suited for court poetry and its corresponding musical expression, and his dexterity in the handling of the accepted forms of composition made his task a comparatively easy one. But even without taking into account the revolution which had taken place in the drama, we may judge from "Figaro" and "Don Giovanni" that what in Metastasio's time was of advantage to the composer had now become fetters binding him to forms and dogmas which were virtually obsolete. We find traces throughout of the opera seria, which Mozart had abandoned long ago, but which he was constrained here to resume. Metastasio's graceful daintiness of style, too, was even more injurious in the taste it encouraged for mere amusement of the trifling kind that was looked for at the opera at that time, giving an unseemly effeminacy of tone to the opera seria, and running an equal risk of degenerating into mere trifling or empty pomp and show. If, in addition to this, it be remembered that Mozart's express directions were to compose an occasional, a festival opera, for which two singers had TITUS OVERTURE—ENSEMBLES. been summoned from Italy, and would demand to be shown at their best, and that he composed the opera against time, and struggling with illness, it will scarcely be expected that an unqualified success should follow such a combination of untoward circumstances. The character of a brilliant festal piece is at once suggested by the overture, which begins appropriately by a solemn intrada, with a long-drawn climax. The first bars recall the overture to "Idomeneo," which, however, in earnestness and dignity of tone, and originality of invention, far surpasses that to "Titus." The second theme so announced falls short of expectation, being weak and trifling,[ 46 ] and even the subject selected for harmonic contrapuntal treatment—[See Page Image] skilful and brilliant as the treatment is, has in itself no special interest, so that when the prelude recurs to form an effective conclusion, the principal impression remaining is one of brilliant display.
The march (4) and the choruses (5, 24) as well as the finale (26) Sestetto con coro, in which short solo passages alternate with the chorus, maintain this festive character. They are brilliant and flowing, pleasing and melodious, and answer for their purpose and the situation without laying claim to original invention or characterisation. Only the chorus with which Titus is received before he pronounces judgment upon Sextus (24) has a fine expression of solemn dignity, suggested not so much by the words, which are trivial enough, as by the character of the situation. It was a happy touch to make the chorus, after the unexpected deliverance of Titus (15), express delight, not with jubilant outcries, but with the suppressed joy of bewildered amazement. Nevertheless this chorus is too light and fugitive for the situation.
