Idoménée. Idomenee журнал

Idomeneo - Wikipedia

Idomeneo, re di Creta ossia Ilia e Idamante (Italian for Idomeneus, King of Crete, or, Ilia and Idamante; usually referred to simply as Idomeneo,[1]K. 366) is an Italian language opera seria by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart.[2] The work premiered on 29 January 1781 at the Cuvilliés Theatre in Munich, Germany.

Composition[edit]

A page from Mozart's original score for Idomeneo, showing cancellations

The libretto clearly draws inspiration from Metastasio in its overall layout, the type of character development, and the highly poetic language used in the various numbers and the secco and stromentato recitatives. The style of the choruses, marches, and ballets is very French, and the shipwreck scene towards the end of act I is almost identical to the structure and dramatic working-out of a similar scene in Gluck's Iphigénie en Tauride. The sacrifice and oracle scenes are similar to Gluck's Iphigénie en Aulide and Alceste.

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.

Performance history[edit]

It was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under the musical direction of its 25-year-old composer. 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."[4]Idomeneo was Mozart's first mature opera. With it 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).[5][6]

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 Glasgow Grand Opera Society in 1934. The first performance in the United States was produced by Boris Goldovsky at the Berkshire Music Festival at Tanglewood during the summer of 1947.[7]

Today Idomeneo is part of the standard operatic repertoire. There are several recordings of it (see below), and it is regularly performed.

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[edit]

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 (de) 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 temer amato bene", K. 490, (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.[8]

Anton Raaff as Idomeneo in Munich

Instrumentation[edit]

The instrumentation is:

Synopsis[edit]

Title pages (Italian and German) from the first version of the original libretto

Overture[edit]

The overture, in D major and common time, is in a modified sonata form in which the development is but a very short transition section connecting the exposition with the recapitulation. Other conventional hallmarks of the sonata form are apparent: the exposition modulates from the tonic (D major) to the dominant (A major), while the recapitulation is centred on the tonic. The overture concludes with a coda ending in D major chords. These chords, soft and tentative, turn out not to be a resolution of the overture in the tonic but chords in the dominant of G minor, which is the home key of the scene that immediately follows.[9]

Act 1[edit]

Island of Crete, shortly after the Trojan War. Ilia, daughter of the defeated Trojan King Priam, has been taken to Crete after the war. She loves Prince Idamante, son of Idomeneo, but hesitates to acknowledge her love. Idamante frees the Trojan prisoners in a gesture of good will. He tells Ilia, who is rejecting his love, that it is not his fault that their fathers were enemies. Trojans and Cretans together welcome the return of peace, but Electra, daughter of the Greek King Agamemnon, is jealous of Ilia and does not approve of Idamante's clemency toward the enemy prisoners. Arbace, the king's confidant, brings news that Idomeneo has been lost at sea while returning to Crete from Troy. Electra, fearing that Ilia, a Trojan, will soon become Queen of Crete, feels the furies of the underworld rise up in her heart.[10]

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[edit]

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, Argos. Idomeneo's kind words to Ilia move her to declare that since she has lost everything, he will be her father and Crete her country. As she leaves, Idomeneo realizes that sending Idamante into exile has cost Ilia her happiness as well as his own. Electra welcomes the idea of going to Argos with Idamante.

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[edit]

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[edit]

Act 1

• "Padre, germani, addio" ("Father, brothers, farewell"), Ilia
• "Non ho colpa" ("I am not guilty"), Idamantes
• "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"), Idamantes

Act 2

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

Act 3

• "Zeffiretti lusinghieri" ("Pleasant Zephyrus"), Ilia
• "Se colá ne' fati è scritto" ("If it is written in the destiny"), Arbaces
• "No, la morte io non pavento" ("No, I am not afraid of dying", Idamantes
• "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[edit]

Audio[edit]

Year Cast: Ilia,Elettra,Idamante,Idomeneo,Arbace Opera house and orchestra,conductor Label[11]

1950	Gertraud Hopf,Gertrude Grob-Prandl,Greta Menzel,Horst Taubmann,Herbert Handt	Meinhard von ZallingerVienna SymphonyVienna State Opera Chorus	CD: VoxCat: ??
1951	Sena Jurinac,Birgit Nilsson,Léopold Simoneau,Richard Lewis,Alfred Poell	Fritz BuschGlyndebourne Festival Chorus and Orchestra	CD: Urania Records (live recording),Cat: ??
1956	Sena Jurinac,Lucilla Udovich,Léopold Simoneau,Richard Lewis,James Milligan	John PritchardGlyndebourne Festival Chorus and Orchestra	CD: EMI,Cat: ??
1956	Rudolf Schock,Hildegard Hillebrecht,Christel Goltz,Waldemar Kmentt,Eberhard Wächter,Kurt Böhme	Karl BöhmVienna PhilharmonicVienna State Opera Chorus	CD: Walhall Eternity Series,Cat: ??
1960	Janine Micheau,Berthe Monmart,Jacqueline Sellier,Rémy Corazza,Camille Maurane	Gustave CloëzOrchestre Lyrique de l'O.R.T.FChorale Lyrique de l'O.R.T.F	CD reissue: Gala,Cat: ??
1964	Gundula Janowitz,Enriqueta Tarrés,Luciano Pavarotti,Richard Lewis,Neilson Taylor,Kurt Böhme	John PritchardLondon Philharmonic OrchestraGlyndebourne Festival Opera	CD: Glyndebourne,Cat: 920715 (Notablu)
1968	Margherita Rinaldi,Pauline Tinsley,Ryland Davies,George Shirley,Robert Tear	Colin DavisBBC Symphony OrchestraBBC Symphony Chorus	CD: Philips,Cat:
1971	Nicolai Gedda,Jessye Norman,Rae Woodland,Heather Harper,Andréa SnarskiAntonio Liviero	Colin DavisIn performanceOrchestra sinfonica di RomaRadiotelevisione italiana. Coro di Roma	CD: Opera d'Oro,Cat: 58471129
1971	Anneliese Rothenberger,Edda Moser,Adolf Dallapozza,Nicolai Gedda,Peter Schreier	Hans Schmidt-IsserstedtSächsische Staatskapelle DresdenLeipzig Radio Choir	CD: EMI,Cat: ??
1979	Wiesław Ochman,Peter Schreier,Edith Mathis,Júlia Várady,Hermann Winkler (de)	Karl BöhmSächsische Staatskapelle DresdenLeipzig Radio Choir	CD: Deutsche Grammophon,Cat: 429 864-2
1981	Rachel Yakar,Felicity Palmer,Trudeliese Schmidt,Werner Hollweg (de),Kurt Equiluz	Nikolaus HarnoncourtChorus & Zurich Opera House Mozart Orchestra	CD: Teldec,Cat: ??
1983	Lucia Popp,Edita Gruberová,Agnes Baltsa,Luciano Pavarotti,Leo Nucci	John PritchardVienna PhilharmonicVienna State Opera Chorus	CD: Decca,Cat: ??
1990	Sylvia McNair,Hillevi Martinpelto,Anne Sofie von Otter,Anthony Rolfe Johnson,Nigel Robson	John Eliot GardinerEnglish Baroque SoloistsMonteverdi Choir	CD: Deutsche Grammophon,Cat: 431 674-2
1991	Barbara Hendricks,Roberta Alexander,Susanne Mentzer,Francisco Araiza,Uwe Heilmann	Colin DavisBavarian Radio Symphony Orchestra and Chorus	CD: Philips,Cat: ??
1994	Heidi Grant Murphy,Carol Vaness,Cecilia Bartoli,Plácido Domingo,Thomas Hampson	James LevineMetropolitan Opera Orchestra and Chorus	CD: Deutsche Grammophon,Cat: ??
2001	Lisa Milne,Barbara Frittoli,Lorraine Hunt Lieberson,Ian Bostridge,Anthony Rolfe Johnson	Charles MackerrasEdinburgh Festival ChorusScottish Chamber Orchestra	CD: EMI,Cat: ??
2009	Sunhae Im,Alexandrina Pendatchanska,Bernarda Fink,Richard Croft,Kenneth Tarver	René JacobsFreiburger BarockorchesterRIAS KammerchorRecorded at the Immanuelskirche, Wuppertal	CD: Harmonia Mundi,Cat: ??

Video[edit]

• Benjamin Britten (1969, distribution, 2008). BBC. With Peter Pears, Heather Harper, Rae Woodland, Anne Pashley, English Opera Group et al., OCLC 676295503
• James Levine (1982). Deutsche Grammophon. With Luciano Pavarotti, Frederica von Stade, Ileana Cotrubaș, Hildegard Behrens and John Alexander. This was the Metropolitan Opera's first production of the work.
• 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.
• 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.

In popular culture[edit]

Donna Leon's second Commissario Brunetti mystery novel, Death in a Strange Country (1993), opens with a quotation from Idomeneo.[12]

See also[edit]

References[edit]

1. ^ Italian pronunciation: [idomenˈeo]
2. ^ David Cairns, Mozart and his Operas, 2006, p. 36. University of California Press. ISBN 978-0-520-22898-6
3. ^ Kurt Kramer, "Antike und christliches Mittelalter in Varescos Idomeneo, dem Libretto zu Mozarts gleichnamiger Oper" in Mitteilungen der Internationalen Stiftung Mozarteum, xxviii/1–2 (1980), 6.20
4. ^ Heartz, Daniel (1995). Haydn, Mozart and the Viennese School: 1740–1780. W.W. Norton. p. 708. ISBN 978-0393037128. 
5. ^ Cairns, p. 45
6. ^ Unusually for composer–librettist interactions, there is strong documentation, since Varesco was living in Salzburg, near Mozart's father Leopold: Mozart wrote forceful letters expressing his wishes to his father, who communicated in person with Varesco. See Spaethling (2005:208), who describes the working arrangements and provides in translation the text of Mozart's letters. Robert Spaethling (2005) Mozart's letters, Mozart's life. New York: Norton.
7. ^ Goldovsky, Boris, My Road to Opera, Houghton Mifflin, 1979
8. ^ "Music: Strauss's Setting of Mozart's Idomeneo", The New York Times
9. ^ Rushton, Julian (1993). W. A. Mozart: Idomeneo (Cambridge Opera Handbooks). Cambridge University Press. pp. 5–8. ISBN 9780521437417. 
10. ^ Aria: "Tutte nel cor vi sento, furie del crudo averno" (I feel you all in my heart, furies of the cruel underworld), p. 14 of Idomeneo (1781 Italian libretto)
11. ^ Source of recordings: operadis-opera-discography.org.uk Retrieved 21 February 2013
12. ^ Leon, Donna (1993). Death in a Strange Country. New York: Penguin/Grove Press. 

External links[edit]

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Idoménée - Wikipedia

Idoménée (English: Idomeneus) is an opera by the French composer André Campra. It takes the form of a tragédie en musique in a prologue and five acts. Idoménée was first performed on 12 January 1712 by the Académie royale de musique at the Théâtre du Palais-Royal in Paris. The libretto, by Antoine Danchet, is based on a stage play by Crébillon père. It later formed the basis of Giambattista Varesco's libretto for Wolfgang Amadeus Mozart's opera Idomeneo.

Role Voice type Premiere cast, 12 January 1712(Conductor: - )

Idoménée	bass-baritone	Gabriel-Vincent Thévenard
Eole/Arbas	bass-baritone	Charles Hardouin
Idamante	haute-contre	Jacques Cochereau
Ilione	soprano	Françoise Journet
Arcas	haute-contre	Buseau
Dircé	soprano	Marie Antier
Neptune/High sacrificer of Neptune	bass-baritone	Jean Dun 'père'
Two sacrificers	haute-contre;taille (baritenor)	Robert Lebel;M Deshayes
Electre	soprano	Mlle Pestel
Vénus	soprano	Marie-Catherine Poussin
A follower of Vénus	soprano	Mlle Loignon
Two sea divinities/Two sheperdesses	sopranos	Mlles Delaurier and Terlet
Protée	bass-baritone	M Drot
La Jalousie/Némésis (travesti)	taille (baritenor)	Louis Mantienne
A woman from Crete	soprano	Mlle Linbour
Another sheperdess	soprano	Mlle Dekerkof

Synopsis[edit]

• Prologue Vénus visits Eole (Aeolus) in his cavern to ask him to release the winds so she can punish the Greek hero Idoménée (Idomeneus), on his way back from the siege of Troy to his home in Crete.
• Act One: In Crete, Ilione, daughter of King Priam of Troy reveals she has rejected the advances of Idoménée, but is secretly in love with his son Idamante. He returns her love, spurning Electre, who jealously plots revenge. News arrives that Idoménée has been lost in a storm at sea.
• Act Two: Idoménee has been shipwrecked but, thanks to the god Neptune, he has survived. He reveals he owes his life to the promise he made to Neptune to sacrifice the first person he should meet on the Cretan shore. To his horror, that person is his own son Idamante.
• Act Three: Idoménée has learnt of the love between Ilione and Idamante and is torn between a desire to save his son and jealousy. He orders Idamante to take Electre back to her homeland but as the ship is ready to depart a huge sea monster blocks its way. Neptune is determined to keep Idoménée to his vow.
• Act Four: Ilione tells Idamante of Idoménée's love for her. At the temple of Neptune, Idoménée implores the god to release him from his promise. Idamante fights and kills the sea monster.
• Act Five: Idoménée announces that he will leave the throne and Ilione to Idamante. But the gods' anger is not yet appeased. They send Idoménée insane and in his fury he mistakenly kills his own son.

Recording[edit]

Sources[edit]

• Original libretto: Idomenée, Tragedie représentée pour la premiere fois par l'Academie Royale de Musique, Le Mardy douziéme jour de Janvier 1712, Paris, Ballard, 1712 (accessible for free online in gallica, Bibliothèque Nationale de France)
• Original printed score: Idomenée, Tragedie Mise en Musique par Monsieur Campra, Représentée pour la premiere fois par L'Academie Royale De Musique, Le Mardy douziéme jour de Janvier 1712, Paris, Ballard, 1712 (accessible for free online at IMSLP)
• Manuscript score: Idomenée, Tragedie Mise En Musique Par Monsieur Campra, Représentée Pour La Premiere fois Par l'Academie Royale de Musique, Le mardy douziéme jour de Janvier 1712, undated (accessible for free online at IMSLP)
• The Viking Opera Guide ed. Holden (Viking, 1993)
• Le magazine de l'opéra baroque]

Family Films Operas Literature Art

en.wikipedia.org

Category:Idoménée - Wikimedia Commons

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• André Campra - Idoménée - title page of the score - Paris 1731.png 3,970 × 3,526; 753 KB
• André Campra - Idoménée - title page of the score 2 - Paris 1731.jpg 3,648 × 4,920; 1.6 MB
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