Mozart was still working on “The Magic Flute” when he was commissioned to write a festive opera for the coronation of Leopold II in Prague as King of Bohemia on 6 September 1791. Though in poor health, he accepted, even though he had little more than four weeks to write it. He immediately had Metastasio’s text revised by the poet Mazzolà, who not only built in the duets, trios, quintet and sextet that Mozart needed to hone the work’s emotional veracity, but also brought the abstract political dimension down to a human, emotional level. From a lofty reflection on politics and justice, it became a conflict between friends and lovers. Emperor Titus plans to marry Berenice, thus arousing the rage of Vitellia. She urges Sesto, who loves her, to lead a revolt against Titus. After further complications, Titus resolves to marry Vitellia. Vitellia tries to stop Sesto, but in vain: he has burned down the Capitol and tried to kill his best friend Titus. The Emperor escapes, but, surrounded by manipulation and betrayal, the future seems bleak¿ This opera seria, Mozart’s very last opera, is both a distillate of late 18th-century opera as well as an anticipation of the 19th-century opera with its tormented heroes. Director Martin Ku¿ej tells the story straightforwardly, digging into the substrata of the work to bring out the complex psyches of the characters, their neurotic impulses, their sexual drives and the motives of their intrigues. Ku¿ej’s “Clemenza” is a mad whirl of love, murder, arson and rebellion. He is ably supported by the Vienna Philharmonic under Nikolaus Harnoncourt, and a stellar cast that proves just how much flesh and blood pulses through this work. Michael Schade, one of the most exciting lyrical tenors of today, is a Titus who sings with fire and dignity. The dramatic soprano Dorothea Röschmann, who made her international breakthrough in Salzburg in 1995 as Susanna (“Figaro”) under Harnoncourt, portrays Vitellia as a power-hungry schemer with a broken soul. The incomparable mezzo Vesselina Kasarova paints her Sesto with all the passion and torment of a lover forced to betray his best friend. On a par with them are Aleksandra Kurzak (Servilia), Malena Ernman (Annio) and Luca Pisaroni (Publio). Premiered in 2003, this production of “Tito” was universally acclaimed as a musical and dramatic triumph in its 2006 reprise within the Mozart 22 cycle.