Marlies’Artbeat: “Idomeneo” – Mozart’s appealing Opera Seria -- in Alive-at-the Met-in-HD-at-the-Movies

By Marlies Wolf, Opera Specialist

It was Mozart’s first commissioned opera, after his disputably 9 or 10 opera endeavors, and myriad other musical forms composed along side. Wolfgang Amadeus Mozart (1756-1791) just turned 25 when Idomeneo premiered in Munich, in 1781. James Levine, who revived it before, now again offers the stylish Jean-Pierre Ponnelle production of this “Opera Seria.” Luckily it is included in the Alive-at-the Met-in-HD-at-the-Movies line-up, so it can be seen in over 2000 venues in 70 countries around the globe.

For Mozart the commission was especially meaningful, because the temporary move to Munich released him from the obsessive control of the court chaplain of Salzburg. Wolfgang’s father, Leopold, was the go-between connecting the young composer to the librettist Giovanni Battista Varesco, (1735-1805) who was in Salzburg. Thus we know a great deal about the creation of this, actually his third, “Opera Seria” because of the plentiful correspondence.

For me, a mention in one of these letters was absolutely fascinating. Referring to his preference for shortening a recitative from the off-stage Neptune, Mozart wrote: “If the speech of the ghost in Hamlet were not quite so long, it would have been more effective.” When did the “Wunderkind” who was traveling to perform continually from the age of 8 or so, have time to learn about Hamlet? Did he see a performance while he was touring? We know about his musical instruction, but little about his general education.

We do know he was thoroughly familiar with “Opera Seria,” a popular 18th Century form, which most often dealt with Greek myth or stories of high-placed nobility. Its structure was a stringing of a recitative (sometimes sung by the chorus,) moving the action, followed by an aria, which reflected the emotions of the particular character singing it. Let’s admit it, unless performed by extraordinary voices, this dramatically restrictive curtailment can be quite boring, and earlier “Opera Seria” certainly lives up to its insipid reputation.

The genre’s popularity, at the time, may have been caused by curiosity about the haunting voices of the Castrati singers featured in the operas. Mozart’s own Idamante was a castrato named Vincenzo dal Prato. Complaints about him, plus the inferiority of most of the rest of the cast, are plentiful in the letters.

But so is the adoration of the orchestra imported from the city of Mannheim. Not mincing the praise, Mozart refers to it as: “The best in the world.”

The letters make clear Mozart set out to produce a version of the stylized Seria genre, which would be “exciting” with new elements. Indeed, he succeeded in doing so, merely because the music is HIS. He not only gives us a preview of the opera-greatness for which we exalt him, it already is there, particularly in the 2nd and 3rd acts. The flow of the music, with its daring harmonies, is exhilarating. Mozart’s truly meaningful operatic prowess had begun. His next effort was The Abduction from the Seraglio, just a year later, in 1862.

Idomeneo seems to be the turning point. The subject matter for the opera was a good choice. The return of the king of Crete, after 10 years of fighting the Trojan War and what has been going on at home, certainly has enough passion and zing. Given the superlative cast the Met chose to portray all this, made for a glorious experience.

The complicated plot involves the control the gods have over human beings, illicit love, human sacrifice, jealousy, compassion, fury, even a sea monster which is slain by the Idamante, Idomeneo’s almost destined-to-be-sacrificed son. The role here is sung by the talented British mezzo-soprano, Alice Coote, whose mellow sound is most pleasing. Who needs a castrato anyway!

Ilia, the Trojan Princess, a captive in Crete, was sung by the lovely, young soprano Nadine Sierra, who comes to us from Florida. The score forces her to burst on the first scene, with a recitative, which made her sound somewhat shrill and had decided tremolo. But by the time the reflective aria came about, minutes later, her voice was lustrous, and her delivery beautiful for the rest of the opera. The attractive 28 year-old is sure to have a great future.

The Elettra, (of the cursed Atreus clan,) an over-the-top dramatic part, was supplied by the fiery South African soprano, Elza van den Heever. You may remember her impressive Queen Elizabeth in the HD performance of Maria Stuarda, a couple of seasons back. She delivered high venom magnificently then and did so here as well.

Alan Opie, the British baritone, sang the loyal advisor, Arbace, with grace and dramatic clarity. But it was the American tenor, Matthew Polenzani, in the title role, who really deserves the highest admiration for his performance. The luster of his voice, the nuances, the fine interpretation of the character, were exemplary. He has been fabulously active all this Met season, including starring in several of the HD offerings.

Idomeneo has been called Mozart’s “Choral Opera,” because the chorus, to be sure,

is a most important element here. The Met’s mighty chorus, under its illustrious master, Donald Columbo, came through splendidly, as always. Clever groupings of the chorus, on the set, (with Neptune’s threatening gaping mouth in the background,) impart meaningful visual information as well.

The Met orchestra, admittedly the best opera orchestra around, lived up to its reputation, under the visibly enthusiastic James Levine direction. The Music Director Emeritus, now has conducted this opera 50 times, since 1982, when he first introduced it at the Met. The intermission interviews, elicited by the HD Host, Eric Owens (who most ably supplied the off-stage Neptune) all were peppered with love for the great Maestro. The audience also made its adoration very clear. Altogether, it was Levine’s afternoon.

(Forgive my repeated superlatives in reviewing this Idomeneo. It deserved it.)

You can catch the encores on Wednesday evening, March 29th 2017, and in selected theaters, on Thursday, March 30th, at matinee time.