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5 of 5 people found the following review helpful
4.0 out of 5 stars Dull staging but fine performances, 10 Aug 2012
This review is from: Mozart: Idomeneo (Munich 2008) (Euroarts: 2072444) (John Mark Ainsley/ Pavol Breslik/ Juliane Banse/ Bayerisches Staatsorchester/ Kent Nagano) [Blu-ray] [2012] (Blu-ray)
Mozart had already written twelve operas by the time he was commissioned to write Idomeneo for Munich in 1780 (his earliest opera written when he was just eleven years old), and although many of those earlier works show moments of the talent and genius that would flourish in later years and are often astonishingly accomplished considering the age of the composer, they are mostly conventional in nature. It's generally accepted that Mozart's mature opera works commence with Idomeneo, composed when he was 25 years old, but written to the dictates of the opera seria style that was even then considered outdated, the implication is often that it's among the composer's lesser works. Viewed rather as the peak of the youthful Mozart rather than the beginning of his maturity, Idomeneo is however remarkably innovative and thoroughly unique in its treatment of the opera seria style with that distinctive graceful character that the composer brings to the work.

What is fascinating about Mozart's approach to this conventional classical drama, written to cater for generic opera seria arias of anguish and despair at the whims of the gods and sentiments of love betrayed or lovers kept apart, is the unifying force of the music that makes it develop and work as a dramatic whole. There's very little recitativo secco, more often the recitative is accompanied, flowing into ariosos and arias without the expected breaks and exits. The arias and recitatives moreover develop - very unusually for Italian opera seria - into duets, trios, into a magnificent quartet and into choruses. The continuous dramatic progression, the variations of the scenes, with ballet interludes, divertimenti, marches and choral arrangements show that Mozart was taking into account the reformist ideas of Gluck, but they show more the influence of the French style, particularly in the use of 'le merveilleux' elements of spectacle - storms, sea monsters, messages from the gods. More than just introducing them for the purposes of stagecraft, Mozart uses the musical arrangements and the chorus to conjure up such imagery and apply them to the expression of each of the characters' torments.

The 2008 Bayerische Staatsoper production, recorded at the recently restored Cuvilliés-Theater (formerly the Residenztheater) where Idomeneo was actually first premiered in 1781, takes this idea a little bit to extremes. For the most part Jürgen Rose's basic set designs strip the work of anything that could appear as clever stagecraft into order to, presumably, let the music alone express the dramatic content. This works to some extent, drawing the attention to the qualities of Mozart's wonderful score and his innovative approach, but it makes for a very dull stage set in this beautiful theatre. It's difficult to find any meaning, concept or consistency to Dieter Dorn's stage direction, which during the Overture seems to characterise the Trojan warriors as samurai and has ninja dragging Idomeneo down beneath the waves (actually down through an open hatch in the stage), but it remains largely faithful to the action detailed in the libretto, using more traditional, if somewhat sparse, sets designs and classical costumes, with good use made of a revolving platform in the third act. Apart from one or two key scenes where the mood calls for it, the majority of the production however looks like it is set in a rehearsal studio, under bright studio lighting.

If the production isn't much to look at, the performances give a good account of the work itself, revealing its true qualities. Best of all are the casting of John Mark Ainsley and Pavol Breslik for the father and son team of Idomeneo and Idamante. Both look the part, are completely committed to the roles and the dilemmas facing their characters and both are blessed with gorgeous light lyrical voices that nonetheless can express power and depth of emotional feeling where required. And in Mozart's Idomeneo, it's those little details in the singing that are all important. Annette Dasch is also powerful as Electra. In some ways it's a thankless role - one that relies on going through the motions of the angry spurned woman - but Dasch brings an edge of dangerous passion to the role, particularly in her Act III aria ("D'Oreste, d'Aiace ho in seno i tormenti") while assailed by ninjas (who indeed are actually Furies). I wasn't initially so keen on Juliane Banse's interpretation of Ilia, but she carries the hesitant anguish of the role well, and can hardly be faulted for her singing performance. The ubiquitous Guy de Mey again delivers the goods as the High Priest, and the production is also fortunate to have a strong Arbace in Rainer Trost, the production including all his arias, which in the past have often been cut.

With only a few small trims to recitative and the omission of Idamante's final aria (which was cut before the first performance in any case), Kent Nagano clearly intends to keep the focus on maintaining the dramatic flow of the work. The orchestra take centre stage on a raised platform for the final highpoint of the work, the Chaconne that concludes the work, reportedly the longest single orchestral movement composed by Mozart. In the absence of anything happening on stage, TV director Brian Large chooses to show us some of the features of the restoration work on the Cuvilliés-Theater, which considering its historical importance in the context of this work, is not inappropriate. Image quality on the BD is fine and there's a beautiful clarity to the PCM Stereo and the DTS HD-Master Audio 5.1 mixes that seems to capture the natural reverb and ambience of the theatre. Other than Trailers for other titles, there are no extra features on the disc, but a booklet contains information on the opera's composition and includes a short synopsis. The disc is all-region, 1080i full-HD, subtitles are in Italian (matching the libretto), English, French, German and Spanish.
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