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Idomeneo: Salzburg Festspiele [DVD] [2006]


Price: £14.99 & FREE Delivery in the UK. Details
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£14.99 & FREE Delivery in the UK. Details In stock. Dispatched from and sold by Amazon. Gift-wrap available.

Frequently Bought Together

Idomeneo: Salzburg Festspiele [DVD] [2006] + Mozart: Clemenza Di Tito [DVD] [2011]
Price For Both: £39.98

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Product details

  • Format: AC-3, Classical, Colour, Dolby, DVD-Video, PAL, Widescreen
  • Language: Italian
  • Subtitles: German, English, Italian, Spanish, French
  • Dubbed: English
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 1.78:1
  • Number of discs: 2
  • Classification: Exempt
  • Studio: Universal Classics & Jazz
  • DVD Release Date: 19 Mar 2007
  • Run Time: 354 minutes
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
  • ASIN: B000ICL3R4
  • Amazon Bestsellers Rank: 32,436 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Mozart's opera telling the story of the King of Crete who returns from Troy to find his his son in love with the daughter of the slain Paris, King of Troy. Conducted by Sir Roger Norrington and performed by Ramon Vargas, Magdalena Kozena, Anja Harteros and Ekaterina Siurina.

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

16 of 16 people found the following review helpful By Smorgy on 11 April 2007
This is the best Idomeneo DVD on the market, imho. Ursel & Karl-Ernst Herrmann's staging is minimalistic & conceptual, but works very well in story telling. Stage-front is extended forward to enclose the Orchestra Pit, so the singers can walk all the way round to be between the pit and the audience. Quite effective in reducing staticity of the show (tho I haven't a clue how Sir Roger Norrington keeps track of them in his conducting).

The version performed is the original Munich version. So we are musically deprived of Idomeneo's 'Torna la pace' and Idamante's 'No la morte', but are treated to an spectacular rendition of the difficult version of 'Fuor del mar' by Ramon Vargas, who also proves to be a better actor than I expected. He really shines in the title role.

They have the actor Andreas Schlager plays the silent and convincingly sinister Nettuno hovering in every scene and maliciously observing the humans he's toying with. Idamante is very well sung by Magdalena Kozena... though I don't quite like her portrayal of him as something of a bipolar mental case who is either in a manic mode or a depressive one. Ekaterina Siurina has a beautiful and very strong voice for Ilia.. and is a good actress (but the acting doesn't get into the voice much... Her 'Zeffiretti lusinghieri leaves me cold). Jeff Francis is a good Arbace and Robin Leggate is a good High Priest.

The show is; however, stolen in plain sight by the deliciously demented Elettra of Anja Harteros. This isn't a one dimensionally batty Elettra, but one that actually shows concern for Idamante -- though her wishes still come before his. She steals practically every scene she appears in. A magnetic stage presence.. Love the Herrmanns' use of lighting to simulate lightnings during her Act I rage aria...
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6 of 6 people found the following review helpful By Loge on 17 Dec 2007
This Idomeneo, part of the M22 project to stage and record all Mozart's operas at the Salzburg Festival in 2006 to mark the 250th anniversary of his birth, has a stellar cast, all of whom put in exceptional performances. The chorus - which plays a major role in this particular opera - is excellent musically but is also effectively choreographed to represent, say, the Cretans' response to the catastrophes that confront them, or their pleas to Idomeneo to save them from the marauding sea monster (a particularly striking moment, when Idomeneo finally admits to the people that he himself has brought Neptune's wrath down on the island.)

The staging is minimalist and modern but usually entirely convincing (there are occasional effects that don't really work for me, like the billowing blue sheets to represent the storm-tossed sea, and the essentially non-staged appearance of the sea monster, but these are minor criticisms). The presence more-or-less throughout of the brooding Neptune is, however, effective in showing that he is calling the shots and playing games with these Cretans. There is also a clever use of the stage space, with an acting area built out from the main stage and surrounding the orchestra, allowing for moments when characters are brought closer to the audience, used to reinforce the psychological interiorisation of the dynamics between, for example, Idomeneo and Idamante, or Idomeneo's own guilt. It also brings added movement to scenes which would otherwise be static. The main stage area (which can be separated off by a plain white wall) can therefore be used for more `public' elements of the opera.

The cast is excellent.
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1 of 1 people found the following review helpful By maximus TOP 500 REVIEWERVINE VOICE on 22 Sep 2012
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Elettra (as she is called in the Italian Libretto) has some superb numbers in this Opera, and she lives up to it in this production. A definite show stealer and highly enjoyable to listen to as well. I think the Italianate tenor style also works very well in this opera and Ramon Vargas' Idomeneo is amazing. He looks the part too. There is in fact nothing to complain about regarding the production, it is modernist but not to the detriment of the plot and other than Iadamante holding a hand gun (instead of a dagger) during one of the arias, I think we can forgive it just that once.

The orchestra and dramatic accompaniment from the pit is excellent. The only reason why I give this 4 instead of 5 stars however is the annoying tinkle of the ever present harpsichord. A bit over amplified and detracts from some of the orchestral colours that Mozart gifts us in his ingenious score. We know that he loved the piano (or fortepiano in his day) and there isn't even a harpsichord in the score (I checked) but Norringon does love having them but to me it is a mistake here. Mozart was very much up with progress and he preferred to have the piano wherever he could, and it would have been better to do away with the harpsichord if they couldn't get their hands in a decent fortepiano, at least omit the "optional" keyboard for the orchestral passages (keep it in for recitatives by all means). I have heard period performances or Mozart opera (eg Rene Jacobs with magic flute) using the fortepiano with much more wit and charm than a harpsichord can ever bring. If it weren't for the otherwise superb performance all round, I think the costant ching chung of the harpsichord through some of the amazing musical passages would have put me off this DVD and it would have been straight back on the selling second hand like new list.
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