Idomeneo: Synopsis

Total Page:16

File Type:pdf, Size:1020Kb

Idomeneo: Synopsis Idomeneo: Synopsis ACT I Troy has been defeated by the forces of the King of Crete, Idomeneo and his Greek allies. In his absence, Idomeneo has left his son Idamante as ruler. Elettra, the Greek Princess of Argos, is in love with Idamante, whose heart belongs to Ilia, a Trojan princess who is held captive on the island of Crete. Ilia struggles with feeling of betrayal of her country but also fears that Idamante favours Elettra. In an attempt to win Ilia over, Idamante announces the release of all Trojan prisoners in honour of his father’s return. The celebration is cut short when Idomeneo’s aide, Arbace, enters to announce that Idomeneo’s ship has been sunk and all on board are drowned. Princess Elettra is particularly distraught. She is jealous of Ilia and fearful that nothing will now stand in the way of the lovers’ union. The Canadian Opera Company presents Idomeneo (co-production with Opéra national du Rhin), 2010. Sophie Karthauser (left) as Ilia. Photo: While returning home, Idomeneo is miraculously saved Alain Kaiser (Opéra national du Rhin, 2007) from the storm at sea by Neptune, the god of the sea, in exchange for a vow that he must sacrifice the first person he meets on shore. That person is his son, Idamante. himself and, when he does, harshly orders his son from his Initially Idamante does not recognize his father having presence. As the people rejoice at the return of their King, been separated for so long. Horrified by the prospect of Idamante laments his father’s apparent coldness towards what he must do, Idomeneo does not immediately identify him. ACT II Arbace advises Idomeneo to send Idamante away in order to escape the wrath of Neptune. They agree to banish Idamante by having him escort Elettra back to Argos. Elettra is overjoyed that Idamante will be accompanying her to Greece and hopes to win his heart on the voyage. As they prepare to leave, Neptune summons a hideous sea serpent. Idomeneo confesses that he is to blame for the God’s displeasure since he has broken his vow to sacrifice Idamante. Instead, Idomeneo offers himself as a sacrifice to Neptune. Terrified, the crowd flees. The Canadian Opera Company presents Idomeneo (co-production with Opéra national du Rhin), 2010. Mireille Delunsch (centre) as Elettra. Photo: Alain Kaiser (Opéra national du Rhin, 2007) Canadian Opera Company ~ Education and Outreach ~ Idomeneo Study Guide 2009/2010 ~ coc.ca ~ 416-306-2392 The Canadian Opera Company presents Idomeneo (co-production with Opéra national du Rhin), 2010. Left: Sophie Karthauser as Ilia and Sebastien Droy as Idamante. Right: Sebastien Droy as Idamante. Photos: Alain Kaiser (Opéra national du Rhin, 2007) ACT III Idamante declares that he will fight the sea monster monster. Idamante is resigned to his fate, knowing that provoking Ilia to finally admit her love to him directly. it is the price to be paid for peace. Ilia demands to be Idomeneo and Elettra enter and interrupt the lovers. sacrificed in Idamante’s place. Moved by her selfless Idomeneo, still unable to reveal the exact cause of his actions, Neptune proclaims that Idomeneo can be released actions, orders Idamante to leave Crete. Idamante agrees. from his vow if he agrees to renounce the throne in favour Arbace reports that the people are demanding that the king of his son. consult with Neptune’s High Priest to avoid further disaster. Peace is restored as Idomeneo presents Idamante to the As preparations are being made for the coming sacrifice, people as their new ruler. Arbace announces that Idamante has slain the sea The tale of the Trojan War has been told through numerous works of Greek literature including the Iliad and the Odyssey by Homer. Troy is laid siege to by an alliance of Greek Kings, including King Idomeneo of Crete, led by Agamemnon of Mycenae. The Trojan wars were triggered when Paris of Troy stole away with Helen, the wife of the Spartan King, Menelaus, brother to Agamemnon. After ten years of siege and the deaths of many heroes including Achilles and Ajax, Troy finally fell after the famous ruse of the Trojan horse. The ancient Greeks believed the Trojan War to be an historical event and Troy to be located in modern day Turkey. By modern times both the war and the city were assumed to be non- historical, but in 1870 the German archaeologist Heinrich Schliemann excavated a site in the Dardanelles area of Turkey which is now generally accepted to be the modern site of Troy. Many historians now believe that the stories of the Trojan War are an amalgamation of various sieges and expeditions by Mycenaean Greeks and conflicts over control of water trade routes. Canadian Opera Company ~ Education and Outreach ~ Idomeneo Study Guide 2009/2010 ~ coc.ca ~ 416-306-2392.
Recommended publications
  • Idomeneo​ Synopsis
    Idomeneo Synopsis ​ Background Helen, the beautiful wife of King Menelaus of Greece, was carried off by Paris, son of King Priam of Troy, triggering the Trojan War. Agamemnon, Menelaus's brother, rallied the other Greek kings and joined forces to lay siege to the city of Troy. One of Agamemnon's allies was King Idomeneo of Crete, whose army helped to deliver a victory over the Trojans. After ten long years of war, Idomeneo is finally on his way home. Some of his forces have already returned, bringing back Trojan captives including Priam's daughter, Princess Ilia. The ship carrying Ilia was hit by a storm and sank, but she was rescued from the waves by Idomeneo's son, Idamante. Upon his own return from war, Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus; Elettra's brother, Orestes, took revenge on the unfaithful by killing them both. Elettra fled from their home in Argos, and is now taking refuge in Crete. ACT I Island of Crete, c. 1200 B.C. At the palace, Ilia is grieving for her father and ​ brothers who were killed by the Greek army in the siege on Troy. But while she hates Idomeneo, she has fallen in love with his son, Idamante, who has ruled Crete in his father's absence ("Padre, germani, addio!"-Father, brothers, farewell!). Although Idamante proclaims his love for her, Ilia, cannot bring herself to admit her feelings for him ("Non ho colpa"-I am not guilty). As a gesture of goodwill, Idamante releases the Trojan captives; they join the Cretans in rejoicing this newfound peace ("Godiam la pace"-Let us enjoy peace).
    [Show full text]
  • Mozart's Operas, Musical Plays & Dramatic Cantatas
    Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.
    [Show full text]
  • Classical Opera Ian Page (Conductor)
    ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No.
    [Show full text]
  • Idomeneo” on Crete “
    “Idomeneo” on Crete by Heather Mac Donald The humanists who created the first operas out to be his son, Idamante, whom, in Cam- in late sixteenth-century Florence hoped to re- pra’s opera, the king does indeed sacrifice be- capture the emotional impact of ancient Greek fore going mad. Such a dark ending no longer tragedy. It would take nearly another 200 years, suited Enlightenment tastes, however, and in however, for the most powerful aspect of Attic Mozart’s libretto, by the Salzburg cleric Giam- drama— the chorus—to reach its full potential battista Varesco, the gods grant Idomeneo a on an opera stage. That moment arrived with last-minute reprieve from his vow and rule is Mozart’s 1781 opera Idomeneo, re di Creta. This amicably passed from father to son. September, Opera San José performed Idome- The delight that Mozart must have had in neo’s sublime choruses with thrilling clarity and composing for the Mannheimers is palpable force, in a striking new production of the op- in Idomeneo’s dynamic score. And it is in the era that wedded a philanthropist’s archeologi- opera’s nine choruses that the orchestral writ- cal passion with his love for Mozart. San José’s ing reaches its pinnacle. In the celebrations Idomeneo was a reminder of the breadth of classi- of the Trojan War’s end—“Godiam la pace” cal music excellence in the United States, as well (“Let us savor peace”) and “Nettuno s’onori” as of the value of philanthropy guided by love. (“Let Neptune be honored”)—the strings In 1780, the twenty-four-year-old Mozart re- skitter jubilantly through complex rhythms ceived his most prestigious commission yet: to and rapid volume changes, while the winds compose an opera for the Court of Bavaria to embroider fleet counterpoint around the open Munich’s Carnival season.
    [Show full text]
  • WOLFGANG AMADEUS MOZART Works for the Stage
    New Mozart Edition II/5/3 Bastien a nd Bastienne WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 3: BASTIEN AND BASTIENNE PRESENTED BY RUDOLPH ANGERMÜLLER 1974 International Mozart Foundation, Online Publications III New Mozart Edition II/5/3 Bastien a nd Bastienne Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition II/5/3 Bastien a nd Bastienne CONTENTS Editorial Principles ……………..…………………………………………………….. VI Foreword………….…………………….……………………………………………… VII Facsimile: First page of the autograph…………………………………………………… XV Facsimile: First page of the copy made from the autograph…………………………….. XVI Facsimile: Piano score by Leopold Mozart for No.
    [Show full text]
  • Così Fan Tutte Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte
    Manitoba Opera Così fan tutte Music by Wolfgang Amadeus Mozart Libretto by Lorenzo da Ponte Study Guide February 2003 Written & Compiled by: Joanna Slobodian Kris Diaz Welcome to Manitoba Opera This Study Guide has been created to assist you in preparing your students for their visit to the opera. It is our hope that you will be able to add this to your existing curriculum in order to expand your students’ understanding of opera, literature, history, and the fine arts. Materials in the Study Guide may be copied and distributed to students. Some students may wish to go over the information at home if there is insufficient time to discuss in class. Make the opera experience more meaningful and enjoyable by sharing with them knowledge and background on opera and Così fan tutte before they attend. Please Note: The Dress Rehearsal is the last opportunity the singers will have on stage to work with the orchestra before Opening Night. Since vocal demands are so great on opera singers, some singers choose not to sing in full voice during the Dress Rehearsal in order to preserve their vocal chords and avoid unnecessary strain. Table of Contents A Short Introduction to Opera ..............................................................................3 Audience Etiquette .................................................................................................4 Cast List...................................................................................................................5 Pronunciation Guide...............................................................................................6
    [Show full text]
  • Così Fan Tutte
    Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
    [Show full text]
  • Operas of Mozart (MUSI 6397), Fall 2005 Professor: Andrew Davis (Email)
    MUSI 6397: Schedule Page 1 of 5 Operas of Mozart (MUSI 6397), Fall 2005 Professor: Andrew Davis (email) Home page and syllabus | Daily schedule | Reserve list Daily schedule JUMP TO THE CURRENT WEEK Files in PDF format are marked with the PDF logo. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here. NOTES: z Reading assignments listed for a particular day are to be completed in advance of that day's class meeting. Your presentation grade depends in part on your showing evidence of having read the material and coming to class prepared to discuss it. z Make a photocopy of all reading assignments and bring them to class. z All call numbers listed in the schedule are for items on reserve for the course; ask for these at the desk in the music library. z Articles in periodical journals are not on reserve and no call number is given. Find the periodicla in the library and photocopy the article, or access the periodical online and print your own copy of the article (most periodicals are available online, through the link provided in the UH library's catalog). WEEK DATE TOPICS AND HANDOUTS READING AND LISTENING ASSIGNMENTS 1 08/24 History, context, and present Edward Dent, Mozart's Operas, 1–12 (on research in Mozart's operas. "Mozart as a Classic"). ML410.M9D32 1991. Handouts from class today: Mozart's operas: listing of and basic information on the 16 Mozart operas. 2 08/31 Genres: opera seria. Read: Works: Idomeneo. (Background 1.
    [Show full text]
  • Concerts of February 20 and 21, 2015 Notes on the Program by Ken
    Concerts of February 20 and 21, 2015 Notes on the Program by Ken Meltzer Overture to Der Schauspieldirektor (The Impresario), K. 486 (1786) Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. The first performance The Impresario took place at the Schönbrunn Palace, Vienna, on February 7, 1786. The Overture to Impresario is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Approximate performance time is five minutes. 1786 was incredibly productive for Mozart, even by his lofty standards. During that year, Mozart completed his opera buffa masterpiece, Le nozze di Figaro, the singspiel, Der Schauspieldirektor, and a revision of his earlier opera seria, Idomeneo. Mozart also composed several chamber pieces, solo vocal works, his Fourth Horn Concerto, K. 495, and three Piano Concertos—No. 23 in A Major, K. 488, No. 24 in C minor, K. 491, and No. 25 in C Major, K. 503. Der Schauspieldirektor (The Impresario), alternating spoken dialogue and sung music, tells the story of an impresario’s struggles to control the egos of two operatic divas. With its humorous depiction of operatic backstage intrigue, The Impresario is a predecessor to Richard Strauss’s Ariadne auf Naxos (see, below). While The Impresario is rarely performed as a complete work, its vibrant Overture has long enjoyed a favored place in the concert hall. Le Bourgeois Gentilhomme (Der Bürger aus Edelmann), Suite, Opus 60 (1918) Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949.
    [Show full text]
  • The a - Z of Mozart Opera Classical Opera / Ian Page
    The A - Z of Mozart Opera Classical Opera / Ian Page 6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 1 10/01/2014 16:24 THE A-Z OF MOZART OPERA Page Page 1 Apollo et Hyacinthus – Duetto, “Natus cadit” 5’37 12 10 Die Entführung aus dem Serail – Aria, “Konstanze… O wie ängstlich” 4’37 20 Martene Grimson (Melia), Allan Clayton (Oebalus) Andrew Staples (Belmonte) 2 La finta semplice – Aria, “Amoretti, che ascosi qui siete” 4’50 13 11 Le nozze di Figaro – Cavatina, “Se vuol ballare, signor Contino” 3’12 20 Rebecca Bottone (Rosina) Matthew Rose (Figaro) 3 Bastien und Bastienne – Aria, “Diggi, daggi, schurry, murry” 1’29 13 12 Don Giovanni – Canzonetta, “Deh vieni alla finestra” 2’06 21 Matthew Rose (Colas) Mark Stone (Don Giovanni) 4 Mitridate, re di Ponto – Duetto, “Se viver non degg’io” (original version) 7’47 13 13 Così fan tutte – Quintetto, “Di scrivermi ogni giorno” 2’32 22 Rebecca Bottone (Aspasia), Martene Grimson (Sifare) Anna Leese (Fiordiligi), Cora Burggraaf (Dorabella), Andrew Staples (Ferrando), Mark Stone (Guglielmo), Matthew Rose (Don Alfonso) 5 Lucio Silla – Aria, “Fra i pensier più funesti” 3’13 14 Anna Leese (Giunia) 14 La clemenza di Tito – Duetto, “Ah perdona al primo affetto” 2’52 24 Rebecca Bottone (Servilia), Cora Burggraaf (Annio) 6 La finta giardiniera – Cavatina, “Geme la tortorella” 4’42 15 Klara Ek (Sandrina) 15 Die Zauberflöte – Quintetto, “Hm! hm! hm! hm!” 6’17 25 Klara Ek, Martene Grimson, Jennifer Johnston (Drei Damen), 7 Il re pastore – Finale, “Viva l’invitto duce” 6’26 15 Allan Clayton (Tamino), Mark Stone (Papageno) Cora Burggraaf (Aminta), Rebecca Bottone (Elisa), Anna Leese (Tamiri), Andrew Staples (Alessandro), The Orchestra of Classical Opera Allan Clayton (Agenore) Ian Page (conductor) 8 Zaide – Aria, “Ruhe sanft, mein holdes Leben” 5’59 17 Susan Gritton (Zaide) Produced and edited by Richard Sutcliffe.
    [Show full text]
  • 03-25-2017 Idomeneo Mat.Indd
    Synopsis Crete, around 1200 BCE. Idomeneo, King of Crete, has been fighting on the side of the Greeks in the Trojan War for several years. Prior to his victorious return home, he has sent ahead of him some Trojan captives, including princess Ilia, daughter of the Trojan king, Priam. She has fallen in love with Idomeneo’s son, Idamante, who has ruled as regent in his father’s absence. Also in love with Idamante is princess Elettra. The daughter of Agamemnon, commander of the Greeks during the war, she has taken refuge in Crete after killing her mother, Clytemnestra, in revenge for her father’s death. Act I Ilia is torn between her love for Idamante and her hatred for his father and what he has done to her country. Idamante proclaims his love for her, but Ilia, still a prisoner, can’t yet bring herself to openly declare her feelings. Idamante announces that as a gesture of goodwill the Trojan prisoners will be released. The king’s advisor, Arbace, brings news that Idomeneo’s returning fleet has been shipwrecked and that Idomeneo has drowned. Elettra jealously observes the growing love between Idamante and Ilia. Idomeneo has in fact survived the shipwreck by making a vow to Neptune, god of the sea, that he would sacrifice to him the first man he comes across on land. That man turns out to be his own son, Idamante. Horrified, Idomeneo pushes him away. Idamante is confused by his father’s behavior, while the Cretans praise Neptune for the return of their king.
    [Show full text]
  • Mozart's Opera Idomeneo Set in Minoan Crete
    Mozart’s Opera Idomeneo Set in Minoan Crete Continuous screenings at AMC Pacific Place 11 Free for AIA/APA members and guests The Opera Our Production In September 2011, Opera San Jose and The Packard Hu- The opera is set on the island of Crete just after the Trojan manities Institute presented a new production of Idomeneo. War. In Mozart’s time, essentially nothing was known about Many years after Mozart’s death, his wife Constanze was the archaeology of this period, but today we know much more asked what were his favorite works. Her reply will surprise about the world in which a real King Idomeneo might have many people: “He was fond of Don Giovanni and The Marriage lived. We believe that our production is unique in the way it of Figaro, but perhaps most of all Idomeneo. He had wonderful sets the stage firmly in the Minoan and Mycenaean world. memories of the time and circumstances of its composition.” Two of our sets directly reproduce the architecture and dec- People who love Mozart are often amazed and delighted oration of the Palace at Knossos (as imagined by Evans). when they discover Idomeneo. They have never heard Mozart Our opening set for Act 1 recreates the so-called Queen’s sound quite like this. Megaron in the Domestic Quarter of the Palace. It is copied The best known Mozart operas are comedies or have signifi- from a watercolor made by the excavators, which shows how cant comic elements. Idomeneo is deadly serious in its subject: they believed the apartment might have looked, based on ar- Can a father escape his terrible vow to sacrifice his own son? chaeological evidence.
    [Show full text]