The master's thesis examines the process of shaping the role of Tito in Mozart's final opera, La clemenza di Tito (K. 621). The initial problem of the research is the discrepancy between the historical convention of opera seria, which depicts Tito as an idealized, static, and enlightened absolutist, and his actual internal psychological and political distress. From a musicological, dramaturgical, and philosophical perspective, the thesis argues that Tito's constant clemency is not an expression of his sovereign power but—drawing on the theories of Slavoj Žižek—conceals his internal impotence and political isolation. This dichotomy between the burden of ruling and human vulnerability is directly reflected in Mozart's complex musical texture, especially in the accompagnato recitatives, which require a specific interpretative approach from the singer.
In the empirical part, the thesis connects theoretical findings with the author's personal performance experience while studying the role in Rocc's contemporary staging. The directorial concept of realism and continuous action required the interpreter to find a balance between intense stage movement and strict stylistic purity. The analysis of vocal-technical challenges primarily highlights the mastery of the tenor transitional register (passaggio), breath economy (appoggio), and the psychological justification of the coloratura passages in the aria Se all'impero, amici Dei. In this context, the coloraturas must not function merely as a virtuosic ornament but as a physical reflection of Tito's mental effort in seeking divine support.
The research concludes that the interpretation of Tito goes beyond mere vocal reproduction and requires deep psychological internalization. The singer must simultaneously maintain the mask of imperial authority and reveal human vulnerability. Working on this role proved to be an exceptional technical and personal challenge, and the thesis demonstrates that it is possible to revive Mozart's Tito today in his full tragic dimension.
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