Munich's court theater was the venue for the premiere of Mozart's
"Idomeneo" on 29 January 1781; today, it hosts another premiere of this
same work, now to celebrate the reopening of this sparkling Rococo gem of
a theater, now known after its architect as the Cuvilliés Theater.
Restored at the cost of over 25 million euros, the theater provides an
exultant red, gold and white setting for Mozart's opera seria, which is
considered as the first of the seven uncontested masterworks of Mozart's
dramatic oeuvre. Also available from UNITEL CLASSICA are the recording
from the Salzburg Festival's "Mozart22" along with two documentaries,
"Fathers and Sons - Mozart's 'Idomeneo' at Munich's Cuvilliés Theater"
(45') and "Idomenée - Idomeneo - Idomeneus - Mozart's 'Idomeneo' at
Munich's Cuvilliés Theater" (25'). Both documentaries are written by
Norbert Beilharz.
Mozart's highly expressive music is given a passionate reading by
conductor Kent Nagano, who leads his singers and players with brisk
energy. The dark, full sound of the Bayerisches Staatsorchester provides
lush underpinnings for the bravura arias and glittering coloraturas. In
the title role, John Mark Ainsley tackles his demanding lines with
impressive firmness. Idamante, a role usually sung by a contralto, is
rivetingly portrayed by the tenor Pavol Breslik. As Ilia, Juliane Banse
glows with tenderness, the opposite of Annette Dasch's darkly simmering
Elettra, who, in Dieter Dorn's paired-down staging, is dragged away to her
doom at the close of the work. Though Mozart did not foresee this end for
the wrathful princess, he "would surely have been pleased with the
first-rate singers" (The New York Times) in this Munich production.
