Wolfgang Amadeus Mozart – Idomeneo – Mozart, Wolfgang Amadeus – Unitel – DVD review

This Viennese production is outdated (2014) and its revival in 2019 allowed for renewed distribution, apart from Arbace and Grand-priest. Rare are the recordings that do not delete a number or reduce the recitations. Idomino, sometimes reorganized (Richard Strauss), often truncated, has a unique version here. In fact, the second act begins with the first two scenes of the third part, before returning to its normal course, i.e. the director’s bias. The third begins in the quatrain (No. 21). Neither Münich nor Vienna, an astonishing interpolation, where we discover the air of Idamante – assigned to the miso – “Non temer”, with solo violin, written for Vienna, but where the Ilia – Idamante duo of the Münich version is preserved. The resumption of the march (No. 8) was forgotten. We seek to understand.

Starting Casper Holten Confusing: darkness takes hold, on the floor is a map of Crete, some statues that Idomeneo removed during the opening, having embraced a child, we will find the first. Hangers, hanging from the belt, Elijah and other characters, will bring down her first tune. The costumes are beautiful and catchy, reminiscent of the end of the 18th century. The tilt of the back panel, the mirror, will allow for great lighting, which will be welcome throughout the three works. The notice states that the theater sees Idomeneo as a warrior traumatized by the massacres of the Trojan War, which will reflect his scar. Kasper Holten changed the romance between Ilia and Idamante, like the latter’s fight with a sea monster, which we won’t tell you to switch. Work is neither more bearable, nor more exciting or enriching. The use of machinery during its creation was to compensate for this relative inertia. Therefore, the casting of the actor requires special care. Here, be it long recitations, melodies, ensembles or choruses, we often remain unsatisfied. The chorus—the basic—is not best handled on stage by the composer (hence the double chorus, invisible, with the echo of “Pietà, numi pietà”). Here, for his nine, irreplaceably loud intrusions, he often appears frozen, steadfast, and wisely coherent; A moment with the score (handwritten, 18th century satire!) in hand, it’s absurd. Let’s also forget the last scene, questionable taste. We are torn between laughter and rebellion. Under the rock hanging by a rope, the disappearance of Idomino in the pit, after the disappearance of Elytra, is not described.

Never before has Mozart shown so much expressive violence. Grandeur is at the same time sublime and terrifying in its accents. So we expected an interactive direction and orchestra, which survived the tension as well as the lyrical moments. Unfortunately, management Thomas natubelRoutine is more than imaginative, without mystery or inspiration. Its main advantage lies in the fluidity of the sequences. The dramatic dimension is not precisely taken into account enough, he lacks breath, liveliness and emotion. Tempi, fast, here with some delays, never guaranteed the dynamics. The extraordinary life of the accompanying great recitations is devoid of the expected relief.

The cast is decent to say the least. Bernard Richter It makes Idomeneo live happily. A resolute Mozartian – we remember Titus – he has power, maturity, timbre and soul. Recitations like arias are lyrical styles. The song “Fuor del mar” was performed wonderfully, with a perfect voice. In another record, “Popoli, a voi l’ultima legge impone” turns out to be witty. Charles Siegel interviewed him in the Forumopéra: (Bernard Richter: Depth and Clarity). Valentina Navorneta, also Mozartian, gives us a quivering Elijah, with a luminous emission, with a medium, fleshy bass. His air “Zeffiretti, lusinghieri” (transferred from the beginning of the third to the second) is a delight. A great lesson in style. Idamante from Rachel Frankel No less amazing. The bell is seductive, distinctive, emitting capable of expressing pain and tenderness. His tune “Tutto m’è noto” with the obligatory violin, a beautiful moment. We will be more conservative on Elettra that sings Irina Longo. It’s Verden… and it shows. The sound asserts itself as dense, powerful and graceful as expected, but the style is questionable, with sometimes misplaced vibrato. However, his “D’Orestes, d’Aiaice” moves are powerful. It is entrusted to Arbace, a poor relative of the libretto and the result Pavel Colgatin. Even if his ambiance seems redundant, he honorably fulfills his responsibility. authority of the high priestCarlos Osuna) Flawless, so is the oracle sound )Peter Kellner), who appears here on stage. Small roles (two Trojans, two Cretans, and two Cretan women) are quality. The groups, particularly the quartet in E Flat “Andro ramingo e solo”, but also the trio are balanced.

There is no shortage of Opera Syria videos. This remake is valid for some of his sounds, costumes and lights. The rest can be found elsewhere.

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