Matthew Polenzani in Met Opera's "Idomeneo" (photo: Met Opera) |
Mozart's Idomeneo, with a libretto by Giovanni Battista Varesco, is a relative rarity in the repertoire of the Metropolitan Opera, but one which continues to grow in popularity with its many ardent fans. It premiered in 1781 in Munich in Italian when the composer was twenty-five years old. The full title was actually Idomeneo, King Of Crete, or Ilia and Idamante. It boasts over a dozen arias in its three acts, which have enhanced its reputation through the ages, even though its plot is not particularly involving, given that it's about mythological characters.
Idomeneo (tenor Matthew Polenzani), King of Crete,
returns from the Trojan War to find that Ilia (soprano Nadine
Sierra), a Trojan princess in captivity in Crete has fallen in love
with his son Idamante (mezzo Alice Coote), who is also loved by
Elettra (soprano Elza Van den Heever), princess of Argos. When his
fleet is threatened by a storm, Idomeneo vows to make a sacrifice to
Neptune of the first person he sees upon his return, who turns out to
be his son Idamante. Idomeneo's confidant Arbace (baritone Alan
Opie) brings word to Crete that the king has died at sea, but
Idomeneo arrives in Crete very much alive. To save Idamante, he
orders him to accompany Elettra back to Argos, but another storm
appears, along with a sea monster. Idomeneo confesses his guilt,
offering himself as a sacrifice. Since his father never told him of
his oath, Idamante can't understand his father's actions. Crete has
been devastated by the monster, and the High Priest (tenor Noah
Baetge) demands to know who is to be sacrificed. Idomeneo names his
son, who returns after having killed the monster. He insists that he
be sacrificed as his father promised, but the voice of Neptune
(bass-baritone Eric Owens) intervenes, with an offer that if Idomeneo
were to relinquish the throne to Idamante and Ilia, the gods would be
placated. Elettra collapses, in the weirdest mad scene ever on an
operatic stage, rather as though she were the Queen of the Night when
off her meds (and one could hear musical themes that would find their
way into Mozart's later work in The Magic Flute). Idomeneo
gives up the throne and unites Idamante and Ilia.
Under James Levine, still conducting at his peak, the
performance was exemplary. The entire Production, Set and Costume
Design were by Jean-Pierre Ponnelle, with Lighting Design by Gil
Wechsler, with the result being old-fashioned (the same Met
production as some thirty-five years ago) and dark. The Live in HD
Direction was by Barbara Willis Sweete. The direction was mostly static, in the stand-and-proclaim approach.
The singing was top notch, with relative newcomer Sierra a real find
in her believable acting and as well as her exquisite singing. Host
Eric Owens did double duty, since he also sang, as noted above.
The Met Live in HD broadcasts are winding down for the
season, with only two remaining, namely Tchaikovsky's Eugene
Onegin next month and Strauss' Der Rosenkavalier in
mid-May. The next season has already been announced, but more about
that in future posts.
Fathom
Events will present an Encore broadcast on Weds. March 29th
at a theater near you.
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