La Clemenza di Tito has long existed on the periphery of Mozart's mature operas, but in the 1950s performances were even rarer than they are today. That makes conductor Josef Keilberth's interpretation all the more fascinating. Without the benefit of decades of established performance practice, Keilberth approaches the score with an independence that gives the performance a distinctive freshness. Listeners may not agree with every interpretive choice, but there is something compelling about an approach unencumbered by the weight of tradition. Equally striking is his preference for a lighter, more classical style at a time when many conductors still favored a broader, more Romantic approach to Mozart.

Nicolai Gedda was only thirty years old when this performance was recorded, yet he already displays the effortless technique, elegant style, and remarkable linguistic command that would soon establish him as one of the twentieth century's legendary tenors. Ira Malaniuk brings dramatic intensity to the role of Sesto, singing with a gleaming upper register that suggests she might easily have pursued a soprano career. Hilde Zadek is equally compelling as Vitellia, skillfully navigating Mozart's demanding vocal writing while bringing impressive dramatic weight to the role.