I am easily pleased, probably too much so, and I don't have a problem with Britten's rather intense approach or his cuts to the score. I can cope with the low-budget production and John Warrack's patronising "Now I know you are all rather stupid, so I shall take this slowly" introduction. And, on the plus side, much of the singing is extremely fine.
What I cannot cope with is Pears as Idomeneo. I can (just about) take him as Grimes or Quint or in the Nocturne or the Serenade. I have heard he could turn out a good Evangelist in Bach and some folk like his Schubert Lieder. I am even quite impressed by his rendition of the Ride to Rome in Lucretia.
But his quavering dodgy intonation and hammy acting just do not, for me, work as Idomeneo and show up to particular disadvantage in the context of a strong cast of singers who understand that you hit the note spot on first and then warm it up with vibrato.
For me, Idomeneo is not in the same league as the Da Ponte operas (what is?) but it has plenty of real Mozart in it and it is interesting to see him starting to evolve away from the legacy of both Gluck and baroque opera generally. So if you can cope with Sir Peter's vocal and dramatic antics this is a good low-cost entree to Mozart's first major opera. But you really will have to have a high level of Pears tolerance to get through it in one piece.