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- ConnectionsRemake of The Metropolitan Opera Presents: Idomeneo (1982)
Featured review
'Idomeneo' reigns triumphant
'Idomeneo', to me and many other fans of Mozart and his operas, is one of his best. It may not quite be on the same level of 'Le Nozze Di Figaro', 'Don Giovanni' and 'Cosi Fan Tutte' on a very small side note, lacking those operas' consistent conciseness and adept comedy/drama balance.
This said, 'Idomeneo' in no way is to be dismissed and right now it's fairer to judge it on its own. In many ways 'Idomeneo' is a landmark opera and for a composer of just 25 years old it is a huge achievement, with a more mature musical style than heard in his earlier operas, grander atmosphere and numerous character conflicts and complexities that would carry over to later Mozart operas to even better effect.
Of the 2016/2017 season of 'The Metropolitan Opera HD Live', this production of 'Idomeneo' is one of the high-points, my second favourite of the season after 'L'Amour De Loin'. It is the second Mozart production of the season, the first being 'Don Giovanni' at the end of 2016, and of the two, this is the easily superior performance, despite being well performed the 'Don Giovanni' was not appealing visually often and while not doing anything badly wrong (not 'Tristan Und Isolde' wrong anyhow) it felt too safe for such a dark and complex opera.
Amazing that such an old production, being a revival of the 35 year old production from Jean Pierre Ponnelle, still has so much visual and atmospheric freshness and beauty, when it could easily have been so old-fashioned and stuffy. The sets are beautifully detailed and sumptuous, the lighting is atmospheric and the traditional costumes elegant and tasteful, even if some like Elettra's are like characters of their own. Also very tastefully done is the staging, so refreshing after seeing distaste with 'Tristan Und Isolde', a too safe approach with 'Don Giovanni' and 'Rusalka' being directed in a way that suggested a director who didn't know what they were doing. The presence of Neptune's head that keeps appearing in the background is a little distracting and heavy-handed at times, but elsewhere the character conflicts and complexities are very believably brought out (especially those of Idomeneo and Elettra) and it's all very compelling and affecting. The stylised movements could easily have been an annoyance but actually beautifully done.
Met Orchestra are on magisterial form throughout, the orchestral writing is so rich in texture and requires a vast dynamic and emotional range which the orchestra bring out brilliantly. Their tone is warm and glowing while also having bite, and while there is a lot of energy and power there is equal tenderness and refinement too. They are matched by the Met chorus, they are very well balanced and all parts also have that glowing warmth, no shrillness, dryness or unsteadiness here. Their understanding of what they're singing about and their increasingly individual acting (is it me or hasn't their acting come on so much over the years, the interaction is great to see and there is more of a sense that individual characters and stories have been created) comes through loud and clear too.
James Levine makes this all possible, throughout the long length under him there is a vigorous energy and also refined lyricism, both crucial in Mozart, both brought out and impeccably balanced. Occasionally the sound quality itself is a little lacking in resonance, otherwise there is little to complain with the HD presentation. Not everybody gets much out of the backstage interviews, hosted invitingly by Eric Owens, here to me while not exactly illuminating or with much new information they are fun to watch and it was nice to see what cast and crew had to say and what their personalities were.
For a production of 'Idomeneo' to work, one needs a good cast. We have more than a good cast, we have a great cast, headed by Matthew Polenzani. Initially had reservations as to whether Idomeneo would be well suited to him or be too heavy (the role is every bit as demanding as Mitridate), scepticism completely vanished quickly. Polenzani has all the vocal goods, beautiful tone, wildly varied musicality and supple phrasing, while also displaying heroic heft without pushing or straining and tender lyrical refinement. "Fuor Del Mar" is a beast, made easy here. His acting keeps getting better and better, no stand and sing acting here, he is very authoritative throughout and often affecting.
Another standout is Elsa Van Den Heever, who literally goes for it as Elettra and has a bat out of hell ball. Vocally, she has earthiness but also a gleam that thrills the socks off the listener. Dramatically she is a knockout, certainly the acting standout of the night and it helps having a role so juicy, there is an unhinged intensity that comes over in a way that's menacingly realistic and not hammy at all but there is also a fragile vulnerability that is not always found in some interpretations of Elettra.
Nadine Sierra sings expressively and with beautiful tone, and in the acting stakes her Ilia is touching but never passive. While she has sung with a little more bloom at the top before, Alice Coote nonetheless sings with thrilling mellow richness and brings an ardent dignity to the proceedings. Eric Owens is luxury casting, his Neptune an ominous vocal presence. It is unusual to hear Arbace sung by a baritone, and while Alan Opie has sung more sonorously before (apparently he was ill for some of the run, that would make sense) he is still characterful and a very strong presence as always.
In conclusion, a great production that reigns triumphant. For a good example of the Met and Mozart on top form, this is well worth your time. 9/10 Bethany Cox
This said, 'Idomeneo' in no way is to be dismissed and right now it's fairer to judge it on its own. In many ways 'Idomeneo' is a landmark opera and for a composer of just 25 years old it is a huge achievement, with a more mature musical style than heard in his earlier operas, grander atmosphere and numerous character conflicts and complexities that would carry over to later Mozart operas to even better effect.
Of the 2016/2017 season of 'The Metropolitan Opera HD Live', this production of 'Idomeneo' is one of the high-points, my second favourite of the season after 'L'Amour De Loin'. It is the second Mozart production of the season, the first being 'Don Giovanni' at the end of 2016, and of the two, this is the easily superior performance, despite being well performed the 'Don Giovanni' was not appealing visually often and while not doing anything badly wrong (not 'Tristan Und Isolde' wrong anyhow) it felt too safe for such a dark and complex opera.
Amazing that such an old production, being a revival of the 35 year old production from Jean Pierre Ponnelle, still has so much visual and atmospheric freshness and beauty, when it could easily have been so old-fashioned and stuffy. The sets are beautifully detailed and sumptuous, the lighting is atmospheric and the traditional costumes elegant and tasteful, even if some like Elettra's are like characters of their own. Also very tastefully done is the staging, so refreshing after seeing distaste with 'Tristan Und Isolde', a too safe approach with 'Don Giovanni' and 'Rusalka' being directed in a way that suggested a director who didn't know what they were doing. The presence of Neptune's head that keeps appearing in the background is a little distracting and heavy-handed at times, but elsewhere the character conflicts and complexities are very believably brought out (especially those of Idomeneo and Elettra) and it's all very compelling and affecting. The stylised movements could easily have been an annoyance but actually beautifully done.
Met Orchestra are on magisterial form throughout, the orchestral writing is so rich in texture and requires a vast dynamic and emotional range which the orchestra bring out brilliantly. Their tone is warm and glowing while also having bite, and while there is a lot of energy and power there is equal tenderness and refinement too. They are matched by the Met chorus, they are very well balanced and all parts also have that glowing warmth, no shrillness, dryness or unsteadiness here. Their understanding of what they're singing about and their increasingly individual acting (is it me or hasn't their acting come on so much over the years, the interaction is great to see and there is more of a sense that individual characters and stories have been created) comes through loud and clear too.
James Levine makes this all possible, throughout the long length under him there is a vigorous energy and also refined lyricism, both crucial in Mozart, both brought out and impeccably balanced. Occasionally the sound quality itself is a little lacking in resonance, otherwise there is little to complain with the HD presentation. Not everybody gets much out of the backstage interviews, hosted invitingly by Eric Owens, here to me while not exactly illuminating or with much new information they are fun to watch and it was nice to see what cast and crew had to say and what their personalities were.
For a production of 'Idomeneo' to work, one needs a good cast. We have more than a good cast, we have a great cast, headed by Matthew Polenzani. Initially had reservations as to whether Idomeneo would be well suited to him or be too heavy (the role is every bit as demanding as Mitridate), scepticism completely vanished quickly. Polenzani has all the vocal goods, beautiful tone, wildly varied musicality and supple phrasing, while also displaying heroic heft without pushing or straining and tender lyrical refinement. "Fuor Del Mar" is a beast, made easy here. His acting keeps getting better and better, no stand and sing acting here, he is very authoritative throughout and often affecting.
Another standout is Elsa Van Den Heever, who literally goes for it as Elettra and has a bat out of hell ball. Vocally, she has earthiness but also a gleam that thrills the socks off the listener. Dramatically she is a knockout, certainly the acting standout of the night and it helps having a role so juicy, there is an unhinged intensity that comes over in a way that's menacingly realistic and not hammy at all but there is also a fragile vulnerability that is not always found in some interpretations of Elettra.
Nadine Sierra sings expressively and with beautiful tone, and in the acting stakes her Ilia is touching but never passive. While she has sung with a little more bloom at the top before, Alice Coote nonetheless sings with thrilling mellow richness and brings an ardent dignity to the proceedings. Eric Owens is luxury casting, his Neptune an ominous vocal presence. It is unusual to hear Arbace sung by a baritone, and while Alan Opie has sung more sonorously before (apparently he was ill for some of the run, that would make sense) he is still characterful and a very strong presence as always.
In conclusion, a great production that reigns triumphant. For a good example of the Met and Mozart on top form, this is well worth your time. 9/10 Bethany Cox
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- TheLittleSongbird
- Jun 3, 2017
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