{"id":18014,"date":"2023-06-22T12:00:46","date_gmt":"2023-06-22T10:00:46","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/idomeneo\/"},"modified":"2024-02-19T14:06:49","modified_gmt":"2024-02-19T13:06:49","slug":"idomeneo","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/idomeneo\/","title":{"rendered":"Idomeneo"},"content":{"rendered":"\n
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Drama in music in three actsWolfgang Amadeus Mozart<\/strong>with libretto by Gianbattista Varesco<\/p>\n\n

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Characters and interpreters:<\/p>\n\n

Idomeneo<\/em>Antonio Poli<\/strong><\/p>\n\n

Idamante<\/em>Cecilia Molinari<\/strong><\/p>\n\n

Ilia<\/em>Benedetta Torre<\/strong><\/p>\n\n

Elettra<\/em>Lenneke Ruiten<\/strong><\/p>\n\n

Arbace<\/em>Giorgio Misseri<\/strong><\/p>\n\n

Gran Sacerdote<\/em>Blagoj Nacoski<\/strong><\/p>\n\n

Neptune’s Voice<\/em>Ugo Guagliardo<\/strong><\/p>\n\n

Two Cretans<\/em>Lucia Nicotra<\/strong>Maria Letizia Poltini<\/strong><\/p>\n\n

Two Trojans<\/em>Damiano Profumo<\/strong>Franco Rios Castro<\/strong><\/p>\n\n

<\/div>\n\n

Conductorand orchestratorRiccardo Minasi<\/strong>Simone Ori <\/strong>(25)<\/p>\n\n

DirectorMatthias Hartmann<\/strong><\/p>\n\n

Set designerVolker Hintermeier<\/strong><\/p>\n\n

Costume designerMalte L\u00fcbben<\/strong><\/p>\n\n

ChoreographerReginaldo Oliveira<\/strong><\/p>\n\n

Lighting designMathias M\u00e4rker<\/strong> \/ Valerio Tiberi<\/strong><\/p>\n\n

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Produced by Fondazione Teatro Carlo Felice di Genova<\/strong><\/p>\n\n

Orchestra, choir and technicians of Opera Carlo Felice<\/strong>Claudio Marino Moretti<\/strong>, ChoirmasterCello Antonio Fantinuoli<\/strong>Harpsichord Sirio Restani<\/strong><\/p>\n\n

Balletto Fondazione Formazione Danza e Spettacolo \u201cFor Dance\u201d ETS<\/strong><\/p>\n\n

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Staging directorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorSimone Ori<\/strong><\/p>\n\n

R\u00e9p\u00e9titeursSirio Restani<\/strong>, Antonella Poli<\/strong>, Silvia Gasperini<\/strong><\/p>\n\n

Stage musical assistantsAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterCaterina Galiotto<\/strong><\/p>\n\n

Supertitle MasterSimone Giusto<\/strong><\/p>\n\n

Head of musical archivesSimone Brizio<\/strong><\/p>\n\n

Scenic directorAlessandro Pastorino<\/strong><\/p>\n\n

Vice scenic directorSumireko Inui<\/strong><\/p>\n\n

Consolle supervisorAndrea Musenich<\/strong><\/p>\n\n

Stage technicians foremanGianni Cois<\/strong><\/p>\n\n

Chief electrician\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Audio\/video foremanWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Director’s assistantMarika Petrizzelli<\/strong><\/p>\n\n

Assistant lighting designerEmanuele Agliati<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Sets and propsFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

Costume designerTeatro alla Scala<\/strong><\/p>\n\n

FootwearUn passo di stile srl<\/strong><\/p>\n\n

WigsMario Audello<\/strong><\/p>\n\n

Surtitles byEnrica Apparuti<\/strong><\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/em><\/p>\n\n

With Idomeneo<\/em> – a drama for music in three acts – came the consecration of Mozart, then aged 25, in the sphere of opera seria. Previous titles include Mithridates, King of Pontus<\/em> (1770), and Lucius Silla<\/em> (1772), but the first real big break came in 1780. Mozart was working mainly in Salzburg, when he received a commission for an opera for the following year’s Carnival from the Elector of Munich, Charles Theodore. The possibility of a staging in the Bavarian city was attractive, as the Court Theatre regularly hosted productions of European importance and had one of the most internationally renowned permanent orchestras, the Mannheim Orchestra. The drafting of the libretto, on a subject already chosen by Carlo Teodoro, was entrusted to Gianbattista Varesco, a man of letters and chaplain to the archbishop of Salzburg. The story revolves around Idomeneo, king of Crete returning home after the fall of Troy, and his son Idamante. Because of a vow made to Neptune, the father is forced to sacrifice his son, after having tried in vain to make him flee the island; in the happy ending it is the god himself who prevents the horrible gesture, and Idamantes is crowned king. The main themes are deeply rooted in Greek literature and mythology: they deal with the complicated father-son bond, love thwarted by political contingencies, and the relationship between men and gods. The subject had previously been dealt with in the eponymous trag\u00e9die lirique by Antonie Danchet, set to music by Andr\u00e9 Campra in 1712. Varesco went back to Danchet’s text, translating it into Italian, but opting for a smoother adaptation of the story, now in three instead of five acts, and for more attention to the introspection of the characters. Varesco’s strictly Metastasian work was only appreciated to a certain extent by Mozart, who wanted on the one hand to rely on similar cultural models (the Italian opera seria but also the reform of Christoph Willibald Gluck), and on the other hand to introduce some more experimental features. Thus, in the autumn of 1780, the composer worked on the score and intervened on the libretto to make cuts and changes for the sake of greater coherence between text and music. Idomeneo<\/em> was first performed on 29th January 1781 at the Hoftheater in Munich. The reception was very positive from the critics, although initially less so from the public, who were probably used to more traditional plays.While the model was mainly the Italian and Gluckian opera seria, Mozart decided to move towards a more articulate stylistic pursuit. Resuming the structure based on alternating arias and recitatives, a fundamental choice was the introduction of several accompanied recitatives, so as to achieve more continuity in the orchestral and dramatic discourse. Again given the importance of the musical plan, ample space was given to orchestral, choral and choreographic numbers. Careful research is carried out around the vocalities of the individual characters, each vocal line being developed independently with multiple stylistic references (this has strictly to do with the psychological realism that characterises Idomeneo<\/em>, and which goes so far as to anticipate certain elements of 19th century melodrama). The narrative plot favours on the one hand a good pace of action – the risky shipwreck in a storm, the political tensions between Crete and Troy, the loves of Idamantes, Electra and Ilia, the divine intervention – and on the other hand the right level of psychological insight. Idomeneo is a complex character: after having courageously participated in the victory at Troy and brought his fleet to safety, he finds himself having to come to terms with a dimension that is no longer warlike, grandiose, supernatural, but with an inner tragedy, namely the conflict of a king and father who must choose whether to sacrifice his kingdom or his son. The protagonist is no longer a victorious war hero, but a man living his own contradictions between light and shadow. For his part, Idamantes remains a uniquely positive character: he acts for the common good and often at the expense of his own interests, first as ruler in the absence of his father, and then as son. A clear dichotomy is represented in the two female characters: Ilia, destined to reign at Idamantes’ side, remains true to her sound principles, even proving herself ready to give her life to save her beloved. Electra, a legendary character, matricide par excellence, encapsulates exclusively negative feelings (the same love for Idamantes is expressed only through the idea of possession) and shows no mercy towards others at any time.In the varied human ensemble portrayed, the drama mainly impresses with the elaboration of the model from a new perspective, both in musical invention and dramaturgical exposition. At a moment in history such as the 1780s, Idomeneo<\/em> clearly hints at the possible developments of musical theatre in the decades to come.<\/p>\n","protected":false},"excerpt":{"rendered":"

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