Wolfgang Amadeus Mozart (1756-1791)
Idomeneo, Opera in 3 acts
Idomeneo: Andrew Staples (tenor)
Idamante: Magdalena Kožená (mezzo-soprano)
Ilia: Sabine Devieilhe (soprano)
Elettra: Elsa Dreisig (soprano)
Chor und Symphonieorchester des Bayerischen Runfunks/Sir Simon Rattle
rec. 2023, Herkulessaal der Residenz, Munich
Italian/German libretto only accessible online
BR Klassik 900215 [3 CDs: 180]

Mozart was twenty-four when Idomeneo premiered in 1781 in Munich in the Cuvilliés Theater in the Residenz, the former royal palace of the Bavarian Wittelsbach monarchs. For this new album, Sir Simon Rattle and his Bavarian Radio chorus and orchestra recorded Mozart’s Idomeneo in live concerts in the Herkulessaal, a mere stone’s throw from the Cuvilliés Theater. 

Mozart’s Idomeneo was the product of a commission for the new carnival season by the Bavarian court on behalf of the Elector Karl Theodor. For his libretto Mozart engaged Abbé Giambattista Varesco who adapted his Italian text from Antoine Danchet’s libretto to André Campra’s opera Idoménée (1712). Formally titled by its Italian name, Idomeneo, rè di Creta (Idomeneus, King of Crete) Mozart’s opera is usually named simply Idomeneo, KV 366. For his performances, Mozart had the considerable advantage of using the celebrated Mannheim orchestra which in 1778 Elector Theodor had moved with his court to Munich.

Idomeneo is regarded as Mozart’s first meaningfully serious opera; its libretto concerns the Greek legend of Idomeneo, the Cretan king, immediately after the Trojan Wars. Neptune has saved Idomeneo’s life from a storm at sea in return for his promise to sacrifice the first person he encounters upon landing at Crete. This turns out to be Prince Idamante his own son. God of the sea Neptune is angry when Idomeneo tries to evade his vow. Essentially the theme is the conflict between duty and allegiance verses emotions of the heart. Reason prevails in the final scene, as Idomeneo abdicates, and Idamante and Ilia marry, uniting the Cretan and Trojan nations.

Londoner tenor Andrew Staples stands out in the eponymous role of Idomeneo, the king of Crete. In the opera’s final scene, Idomeneo abdicates and delights in extolling the union of Idamante and Ilia, praising the resultant peace of their nations the aria Popoli!… Torna la pace al core (My people… Peace returns to the heart). He expresses his inner contentment with lovely singing in a dignified and sincere performance. Staples is in notably fluid and expressive voice and his high notes are out of the top drawer.

The trouser role of Prince Idamante, loved by both Ilia and Elettra, is taken by celebrated mezzo-soprano Magdalena Kožená, a singer very familiar with the role. She excels in the Act One aria Il padre adorato (My beloved father), singing with great drama and emotion. Her velvety mezzo combines clarity and expression with unyielding resolve.

Normandy-born soprano Sabine Devieilhe sings the role of Ilia, the captive Trojan princess. From the start of Act One Ilia has one of the opera’s most famous arias Padre, germani, addio! (Father, brothers, farewell). Anguished and conflicted, Ilia is in love with Greek prince Idamante, an enemy of her Trojan people. She remains assured and expressive throughout Ilia’s range of emotions. Her tone is bright but never thin, and the light coloratura the role demands is well within her scope.

Vengeful Mycenaean princess Elettra, the daughter of king Agamemnon and Clytemnestra, has the much-loved aria Idol mio, se ritroso (My dearest, if reluctantly) from Act Two. Parisian Elsa Dreisig relishes Elettra’s confidence as she thinks fondly of her impending passage home to Argos with her lover Idamante. Dreisig’s silky soprano sounds in fine condition, especially her high notes, although some additional expressive nuance would be desirable.

Dutch tenor Linard Vrielink sings the role of Arbace, Idomeneo’s confidant. His Act Two aria Se il tuo duol, se il mio desio (If your pain were to take flight) assures Idomeneo of his loyalty. It is a gutsy performance of passion and ardency, but Vrielink’s tone can turn squally. He manages the high register of the role comfortably, but low notes and the coloratura passages reveal some strain. 

The appearance of Neptune’s High Priest in the final scene of Act Three with Ha vinto Amore (Love is Triumphant) is highly effective. As Neptune’s statue quakes, the trombones and horns provide a dark, resonant tone. The mysterious, cavernous voice of the Oracle, spoken by bass Tareq Nazmi, announces that Neptune will be repaid when Idomeneo abdicates in favour of Idamante and Ilia.

The much admired Scene Three, Act Three quartet Andrò ramingo e solo… Soffrir più non si può (I will go wandering, alone… To suffer more is impossible) is intensely moving. This ensemble is of uncommon beauty, the four main characters emotionally torn by their individual predicaments. 

Throughout his career Sir Simon Rattle has championed Idomeneo and has used both modern and period instrument orchestras. Here, one of the great modern symphony orchestras, the Bayerischen Rundfunks, using elements of historical performance practice, plays with great heart. Rattle uses a basso-continuo consisting of cello played by Sebastian Klinger and Tim Ribchester on harpsichord.

Likewise, there is an impressive contribution from the Bayerischen Rundfunks chorus directed by Howard Arman. I especially enjoy the scene from Act Two at Cydonia port as the chorus of warriors and sailors with Placido è il mar, andiamo (The sea is calm; let us go) sings rousingly to Elettra. Recorded in live concerts in the Herkulessaal, the sound quality is first-rate, achieving a satisfying balance among the soloists, chorus and orchestral sections. 

The accompanying booklet does not contain a libretto, although there is a track listing, a synopsis helpfully linked to track numbers, and an essay ‘Admire the Orchestra’ by Jörg Handstein. A QR code in both the booklet and CD case can be scanned to read and download the libretto given in Italian and German, but no English.

For some decades I have valued two recordings of Idomeneo. First from 1971 is Hans Schmidt-Isserstedt conducting the great Staatskapelle Dresden with a dependable roster of Gedda, Dallapozza, Schreier, Rothenberger and Moser in the Lukaskirche, Dresden, on EMI. The second is conducted by Sir John Pritchard in 1983 with a starry and characterful cast of Pavarotti, Gruberova, Baltsa, Popp and Nucci from the Sofiensaal, Vienna on Decca.

It’s always fascinating to explore new recordings of Idomeneo, a great, though extremely undervalued, opera. I am grateful for this 2023 recording of stature with Sir Simon Rattle conducting his Bavarian Radio orchestra and chorus and a handpicked cast. Rattle presides over a compelling, distinctive and potent performance. Undoubtedly, this recording of Idomeneo ticks all my boxes.

Michael Cookson

Previous reviews: Philip Harrison ~ Mike Parr (both September 2025)

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