El Mozart's Idomeneo Teatro Real

El Mozart's Idomeneo Teatro Real

Idomeneo 3

Idomeneo 4

Idomeneo 5

Idomeneo 6


Idomeneo, King of Crete
Idomeneo, King of Crete
Wolfgang Amadeus Mozart
serious opera in three acts, K. 36
Teatro Real, 20 February 2019
Libreto de Giovanni Battista Varesco, based on the work Idoménée (1712) Antoine Danchet, inspired by the eponymous play (1705) Prosper Crébillon
reviewed by Mozart for the premiere at the Palace version
Auersperg in Vienna 10 March 1786
New production of Teatro Real, in coproduction with
the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma
D. musical: Ivor Bolton
D. scene: Robert Carsen
scenographers: Robert Carsen and Luis F. Carvalho
Costume designer: Luis F. Carvalho
illuminators: Robert Carsen y Peter Praet
Director motion: Marco Berriel
Video Designer: Will Duke
D. from the choir: Ándres Máspero
Distribution: Jeremy Ovenden, Anicio Zorzi Giustiniani, Sabina Puertolas,
Pleiades Sabirova, Krystian Adam, Oliver Johnston, Alexander Tsymbalyuk
Choir and Orchestra of the Teatro RealLas Headlines wars between Greeks and Trojans, Jolyoy described by Prosper in the Crébillon 1705, Antoine inspired Idoménée Danchet in which the libretto by Giovanni Battista is based Varesco. In the works of Mozart are the descendants of the protagonists of the Iliad they face, but this time does not end with the destruction of Troy, This mozartiano Idomeneo is solved with the reconciliation of peoples through marriage of the Trojan Ilia and Idomeneo Idamante.La Greek composition, Re di Creta is a huge creative leap. Mozart was fully involved in developing the script, which earned him not a few disputes with Varesco. I wanted the drama had a major role and was most convincing posible.Su influence on the script led him to develop several versions. Among the first, premiered at the Munich Resodenztheater 29 of January of 1781, and the second, premiered in Vienna five years later, Mozart made numerous changes until just before estreno.Aunque choruses and marches follow the French style Tragédie lyrique, Mozart, with its commitment to constantly update the work and aware of the decline of Italian Baroque Theater court, decide to shorten the long dry recitatives, that lightened with musical accompaniments, He developed a wider vocal line, Italian singers used a much richer and orchestra instruments and timbres. All these elements gave the score a lot more depth and frescura.Mozart had in Munich with the famous tenor virtuoso Anton Raaff, known for his coloratura, for which he composed two arias charged vocal pyrotechnics. These arias disappeared in the Vienna version, We do not know if because the singer this time was not so bright. Another important change was the replacement, the role of Idamante, initially she is written for countertenor and tenor became.

Mozart would have liked to release his Idomeneo in Vienna rather than in Munich, but the weight of Gluck at that time was too important. Vienna was represented Iphigenia in Tauris first and then Alceste, preventing be scheduled at the same time the works of Gluck and a devoted young 25 still unknown years, as Mozart.

The version offered by the Teatro Real is inspired by the review Vienna. Apart from the two long arias Arbace, as it did Mozart. It does in coproduction with Toronto theaters, Rome and Copenhagen. The set design is done by Robert Carsen and, as usual in it, the stage is clear. A beach and sea are the only items where some Greeks and Trojans updated, winners and losers, military and refugees appear as showing that the tragedy remains current.

A sea of ​​orange vests and projection of a city destroyed, complete the scene. A pacifist plea somewhat forced and, of hackneyed, it is tiresome and lacking in originality.

What it does very well Carsen is to manage the crowds standing on stage. More of 60 choir members and a 100 figurantes filled the stage perfectly synchronized. Reserving scenic absolute privacy for the stars, especially Idomeneo duets with Idamante, or arias of Elettra.

A dark scenery, which highlights the subtle lighting Carsen and Peter van Praet, They are projecting the shadow of a huge Idomeneo afflicted. Lighting full of details and information that amplifies the open spaces and helps create more atmospheres reserved.

Extraordinary is the work in front of the Titular Orchestra of the Royal Theater performs its director Ivor Bolton. The inclusion of some vintage instruments, as muted horns, devised by Leopold Mozart, or wooden flutes, get a truly sound mozartiano. Bolton takes a reading full of details and refinement, with his peculiar and enthusiastically directing, while accompanying the key, It makes the music is above the other elements of production, as it could not be otherwise.

Another protagonists of these representations highlight, It is the chorus. Increasingly inspired, both vocals, and interpretive. this choir, hand of its director Andrés Máspero, It seems limitless. No score or scenery can resist them. Sparkly!

Idomeneo, character requires some agility and refinement, She was played by Jeremy Ovenden. His voice is too light for a king. Its small size showed in the set arias, in which he was barely listening.

Elettra ha sido Interpreter por Pleiades Sabirova. precise character of a dramatic soprano of agility. vigorous, for those moments di forza, in fighting for the love of Idamante. The soprano Uzbek, which was the most applauded by the public, he managed to give his character strength and lyricism, with a high volume of voice and dramatic intensity.
Ilia's character was played by the Spanish soprano Sabina Puértolas. The greatest difficulty in this role, for soprano as Puértolas, It is in its coloratura. He knew the character address with courage and with that fresh and elegant vocal line of which always makes gala. His voice is widening, gaining body and sound. Just lacked a bit of volume.

The role of Idamante, Mozart originally composed for castrate, Vienna version and modified it became tenor. El Real has been interpreted by the Italian Zorzi Giustiniani Anicio quite discreetly. It has a beautiful tone but full of strange sounds and, like the rest of the cast, that if this is balanced, the volume is very low.

A good reading of Mozartian Indomeno, musiclamente talking, what is the important.

Text: Paloma Sanz
pictures: Javier del Real