Idomeneo

The libretto clearly draws inspiration from

Kurt Kramer[3] has suggested that Varesco was familiar with Calzabigi and therefore the work of Gluck, especially the latter's Alceste; much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi. It is thanks to Mozart, though, that this mixture of French styles (apart from a few choruses) moves away from Gluck and France and returns to its more Italian (opera seria) roots; the singers were all trained in the classical Italian style, after all, and the recitatives are all classically Italian.

Ballet music, K. 367

As per French tradition, the opera uses ballet to its advantage. Mozart wrote one to be performed in the opera (K. 367) which he considered more of a Lullian divertissement.^[4] It is in several parts and lasts around fifteen minutes.

The structure is as follows. The first four dances transition into each other, while the last three are separate.

1. Chaconne (Allegro) in D major, ³
   ₄
2. Annonce (Larghetto) in B-flat major, ³
   ₄
3. Chaconne qui reprenda (Allegro, starts in D minor, then goes to D major), ³
   ₄
4. Pas seul (
   Allegretto
   (attacca), ³
   ₄ — Piu Allegro (attacca), ³
   ₄ — Piu allegro (attacca), ³
   ₄
5. Passepied in B-flat, ³
   ₈
6. Gavotte in G, ²
   ₂
7. Passacaille in E-flat major, ³
   ₄ (unfinished)

The ballet is scored for the opera's full orchestra of flutes, oboes, clarinets (only present in the passacaille), bassoons, horns, trumpets, timpani, and strings. It showcases the many famous techniques of the

It is unclear exactly where Mozart had intended the divertissement to occur in the opera. In the Neue Mozart-Ausgabe, Harald Heckmann suggests that it was performed after the first act, but Daniel Heartz states that it must have been performed after the final chorus of the third and last act, citing the majesty and pomposity of the D major Pas seul, perfect for concluding an opera.

Along with the Chaconne up to the Pas seul, which form a consistent whole via attacca transitions, the manuscript is bound with three other dances; a passepied in B-flat, a gavotte in G (which is rather famous;

Gluck's influence on Mozart is demonstrated as the Chaconne begins with a musical quotation from Gluck's ballet from Iphigénie en Aulide.^[7]

Performance history

It was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under the musical direction of Christian Cannabich.^[8] The opera apparently owed much of its success at its first performance to the set designs: a notice in the Munich press did not mention Mozart by name but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor Lorenzo Quaglio, and everyone admired them tremendously."^[9] Idomeneo was Mozart's first mature opera, in which he – unique among composers – for the first time and continuing this for all his subsequent operas, ended the work in the key of the overture.^[10][11] With Idomeneo, he demonstrated a mastery of orchestral color, accompanied recitatives, and melodic line. Mozart fought with the librettist, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by the singers (too many "i"s in "rinvigorir", which in Italian are pronounced as in bee).^[12][13]

Idomeneo was performed three times in Munich. Later in 1781 Mozart considered (but did not put into effect) revisions that would have brought the work closer into line with Gluck's style; this would have meant a bass Idomeneo and a tenor Idamante.

A concert performance was given in 1786 at the Palais Auersperg in Vienna. For this, Mozart wrote some new music, made some cuts, and changed Idamante from a castrato to a tenor.

The British premiere was given by the amateur

In 2006 there was a controversy over the cancelling of a 2003 production directed by Hans Neuenfels at the Deutsche Oper Berlin (see 2006 Idomeneo controversy).

Richard Strauss version

The approach of the 150th anniversary of Idomeneo's premiere placed some major European opera houses in a quandary: commemorative performances of so magnificent and historically important a score seemed obligatory, but, at the same time, how dared they mount an opera that 1930/31 audiences were bound to reject as hopelessly unstageworthy? The solution hit on in Munich and Vienna was to have Idomeneo adapted for modern tastes, but to show due reverence to Mozart's genius by entrusting the adaptations to famous twentieth-century opera composers with impeccable credentials as Mozarteans. Thus Munich commissioned an Idomeneo revision from Ermanno Wolf-Ferrari, performed in 1931, and the same year the Vienna State Opera presented a distinctively interventionist version of the score by Richard Strauss.

For his adaptation of Idomeneo, Strauss employed a German libretto by Lothar Wallerstein that was partially a translation of the original Italian libretto, but with some changes to reflect the rearranging of the music. Strauss replaced about 1/3 of Mozart's score with some of his own music (even introducing the "Fall of Troy" motif from his own 1928 opera Die ägyptische Helena), and rearranged much of the music left behind. For example, Ilia's opening aria "Padre, germani, addio!" is mostly intact with a few changes to the long introductory recitative, but when Idamante (specifically written to be sung by a tenor in this version) enters, he sings Mozart's Non piu, tutto ascoltai, K490 (which was added to Mozart's original revision of Idomeneo) instead of "Non ho colpa". A few major changes to the plot were made as well, such as changing princess Elettra to priestess Ismene. Critics have noted that Strauss's additions contain an interesting blend of the classical style of composition and Strauss's own characteristic sound. In 1984, New York's Mostly Mozart Festival presented Strauss's version with Jerry Hadley in the title role, Delores Ziegler as Idamante, and Alessandra Marc as Ismene.^[15]

Roles

Instrumentation

The instrumentation is:

• Woodwinds: 2 flutes, piccolo (only in the storm of act 2), 2 oboes, 2 clarinets, 2 bassoons. B clarinets (an instrument that is now obsolete) are used in No. 15 (pp. 283ff in NMA) and No. 19 (pp. 352ff).
• Brass: 4 horns (in D, in C, in B-flat (alto)/in B (hoch), in G), 2 trumpets in D, 3 trombones (only accompanying the off-stage voice of Neptune in act 3)
• Percussion: timpani in D and in A
• secco recitatives of harpsichord and violoncello (period performance practice often uses a fortepiano
  only)
• Strings

Synopsis

Overture

The

Idomeneo is saved by Neptune (god of the sea) and is washed up on a Cretan beach. There he recalls the vow he made to Neptune: to sacrifice, if he should arrive safely on land, the first living creature he should meet. Idamante approaches him, but because the two have not seen each other for a long time, recognition is difficult. When Idomeneo finally realizes the youth that he must sacrifice for the sake of his vow is his own child, he orders Idamante never to seek him out again. Grief-stricken by his father's rejection, Idamante runs off. Cretan troops disembarking from Idomeneo's ship are met by their wives, and all praise Neptune.

Act 2

At the king's palace, Idomeneo seeks counsel from Arbace, who says another victim could be sacrificed if Idamante were sent into exile. Idomeneo orders his son to escort Electra to her home,

At the port of Sidon (a fictional city of Crete), Idomeneo bids his son farewell and urges him to learn the art of ruling while he is away. Before the ship can sail, however, a storm breaks out, and a sea serpent appears. Recognizing it as a messenger from Neptune, the king offers himself as atonement for having violated his vow to the god.

Act 3

In the royal garden, Ilia asks the breezes to carry her love to Idamante, who appears, explaining that he must go to fight the serpent. When he says he would rather die than suffer the torments of his rejected love, Ilia confesses her love. They are surprised by Electra and Idomeneo. When Idamante asks his father why he sends him away, Idomeneo can only reply that the youth must leave. Ilia asks for consolation from Electra, who is preoccupied with revenge. Arbace comes with news that the people, led by the High Priest of Neptune, are clamoring for Idomeneo. The High Priest tells the king of the destruction caused by Neptune's monster, urging Idomeneo to reveal the name of the person whose sacrifice is demanded by the god. When the king confesses that his own son is the victim, the populace is horrified.

Outside the temple, the king and High Priest join Neptune's priests in prayer that the god may be appeased. Arbace brings news that Idamante has killed the monster. As Idomeneo fears new reprisals from Neptune, Idamante enters in sacrificial robes, saying he understands his father's torment and is ready to die. After an agonizing farewell, Idomeneo is about to sacrifice his son when Ilia intervenes, offering her own life instead. The Voice of Neptune is heard. Idomeneo must yield the throne to Ilia and Idamante. Everyone is relieved except Electra, who longs for her own death. Idomeneo presents Idamante and his bride as the new rulers. The people call upon the god of love and marriage to bless the royal pair and bring peace.

List of arias

Act 1

• "Padre, germani, addio" ("Father, brothers, farewell"), Ilia
• "Non ho colpa" ("I am not guilty"), Idamante
• "Tutte nel cor vi sento furie del cupo averno" ("I can feel you all in my heart, furies of the dark hell"), Electra
• "Vedrommi intorno" ("I shall see around me"), Idomeneo
• "Il padre adorato" ("My beloved father"), Idamante

Act 2

• "Se il tuo duol" ("If your pain"), Arbace
• "Se il padre perdei" ("If I lost my father"), Ilia
• "Fuor del mar" ("Out of the sea"), Idomeneo
• "Idol mio" ("My sweetheart"), Electra

Act 3

• "Zeffiretti lusinghieri" ("Zephyrs caressing"), Ilia
• "Se colà ne' fati è scritto" ("If it is written in the destiny"), Arbace
• "No, la morte io non pavento" ("No, I am not afraid of dying"), Idamante
• "D'Oreste, d'Ajace ho in seno i tormenti" ("I feel Orestes's and Ajax's torments in my heart"), Electra
• "Torna la pace" ("Peace comes again"), Idomeneo

Recordings

Audio

Video

• Benjamin Britten (1969, distribution, 2008). BBC. With Peter Pears, Heather Harper, Rae Woodland, Anne Pashley, English Opera Group et al., OCLC 676295503
• Glyndebourne Chorus. With Richard Lewis, Bozena Betley, Josephine Barstow, Leo Goeke
  , Alexander Oliver.
• Idomeneo (Luciano Pavarotti recording)
  .
• Bernard Haitink (1983). NVC Arts. Staged by Trevor Nunn. Starring: Philip Langridge, Jerry Hadley (singing the tenor version of Idamante), Yvonne Kenny, Carol Vaness. Filmed in Glyndebourne, studio condition.
• Ineke Houtman [fr] (1993). 50-minute version for children, with actor Frank Groothof [nl] playing almost all roles.^[19]
• Marco Guidarini [fr] (2004). Dynamic. Staged by Pier Luigi Pizzi. Starring: Kurt Streit; Sonia Ganassi; Angeles Blancas Gulin; Iano Tamar; Jörg Schneider; Dario Magnabosco; Deyan Vatchkov; Antonietta Bellon; Lucia Gaeta; Carmine Durante, Carmine Mennella. Orchestra and Chorus of Teatro di San Carlo, Naples.
• Daniel Harding (2005). RAI Trade. Camilla Tilling, Emma Bell, Monica Bacelli, Steve Davislim, Francesco Meli. Staged by Luc Bondy. Live from La Scala.
• Sir Roger Norrington (2006). Decca. Part of the M22 Project from the Salzburg Festival. Staged by Ursel and Karl-Ernt Herrmann at House for Mozart. With Ramón Vargas, Magdalena Kožená, Anja Harteros, Ekaterina Siurina, Jeffrey Francis.
• Kent Nagano (2008). Medici Arts. Staged by Dieter Dorn. With John Mark Ainsley, Pavol Breslik (singing the tenor version of Idamante), Juliane Banse, Annette Dasch, Rainer Trost, Guy de Mey, Steven Humes. Live from the Bavarian State Opera.
• Nikolaus Harnoncourt (2009). styriarte Festival Edition. Conducted by Nikolaus, staged by Philipp Harnoncourt. With Saimir Pirgu; Julia Kleiter; Marie-Claude Chappuis; Eva Mei; Arnold Schoenberg Choir; Concentus Musicus Wien. Includes all original ballet scenes.
• James Levine (2017). Metropolitan Opera with Matthew Polenzani, Alice Coote, Nadine Sierra, and Elza van den Heever. Live from the Metropolitan Opera House.^[20]
• Opus Arte Cat:OA1317D^[21]

• List of operas by Mozart
• 2006 Idomeneo controversy

References

External links

Wikimedia Commons has media related to Idomeneo, Rè di Creta.

• Idomeneo: Score and critical report (in German) in the Neue Mozart-Ausgabe (Daniel Heartz, Bruce Alan Brown)
• Libretto,
  diplomatic editions
  , source evaluation (German only), links to online DME recordings – Digital Mozart Edition
• Idomeneo: Scores at the International Music Score Library Project
• Ballet, K. 367, to Idomeneo: Score in the Neue Mozart-Ausgabe
• Synopsis, Metropolitan Opera
• San Diego OperaTalk! with Nick Reveles: Mozart's Idomeneo (Adobe Flash)
• Libretto
• Italian libretto, 1781
• Italian libretto, 1803