Page from Mozart's original score for Idomeneo, showing cancellations
The libretto clearly draws inspiration from Metastasio in its overall layout, the type of character development, and the highly poetic language used in the various numbers and the secco and stromentatorecitatives. The style of the choruses, marches, and ballets is very French, and the shipwreck scene towards the end of act 1 is almost identical to the structure and dramatic working-out of a similar scene in Gluck's Iphigénie en Tauride. The sacrifice and oracle scenes are similar to Gluck's Iphigénie en Aulide and Alceste.
Kurt Kramer[3] has suggested that Varesco was familiar with Calzabigi and therefore the work of Gluck, especially the latter's Alceste; much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi. It is thanks to Mozart, though, that this mixture of French styles (apart from a few choruses) moves away from Gluck and France and returns to its more Italian (opera seria) roots; the singers were all trained in the classical Italian style, after all, and the recitatives are all classically Italian.
Ballet music, K. 367
As per French tradition, the opera uses ballet to its advantage. Mozart wrote one to be performed in the opera (K. 367) which he considered more of a Lulliandivertissement.[4] It is in several parts and lasts around fifteen minutes.
The structure is as follows. The first four dances transition into each other, while the last three are separate.
The ballet is scored for the opera's full orchestra of flutes, oboes, clarinets (only present in the passacaille), bassoons, horns, trumpets, timpani, and strings. It showcases the many famous techniques of the Mannheim orchestra, including stupefying crescendos and tutti passages. Throughout the manuscript, Mozart wrote the dancers who would be partaking in a specific section of the ballet; id est, "Pas seul de Mad. Falgera", or "Pas seul de Mr. [Jean-Pierre] Le Grand", who was the main choreographer for the opera's Munich premiere.
It is unclear exactly where Mozart had intended the divertissement to occur in the opera. In the Neue Mozart-Ausgabe, Harald Heckmann suggests that it was performed after the first act, but Daniel Heartz states that it must have been performed after the final chorus of the third and last act, citing the majesty and pomposity of the D major Pas seul, perfect for concluding an opera.
Along with the Chaconne up to the Pas seul, which form a consistent whole via attacca transitions, the manuscript is bound with three other dances; a passepied in B-flat, a gavotte in G (which is rather famous; Tchaikovsky conducted it at one of his Russian Musical Society concerts),[5] and an unfinished passacaille in E-flat. Due to the separation from the first half of the ballet, as well as the incomplete status of them, Daniel Heartz speculates that they were simply never performed.[6]
Gluck's influence on Mozart is demonstrated as the Chaconne begins with a musical quotation from Gluck's ballet from Iphigénie en Aulide.[7]
Performance history
Cuvilliés Theatre in 2023, after restoration
It was first performed at the Cuvilliés Theatre of the Munich Residenz on 29 January 1781, under the musical direction of Christian Cannabich.[8] The opera apparently owed much of its success at its first performance to the set designs: a notice in the Munich press did not mention Mozart by name but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor Lorenzo Quaglio, and everyone admired them tremendously."[9]Idomeneo was Mozart's first mature opera, in which he – unique among composers – for the first time and continuing this for all his subsequent operas, ended the work in the key of the overture.[10][11] With Idomeneo, he demonstrated a mastery of orchestral color, accompanied recitatives, and melodic line. Mozart fought with the librettist, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by the singers (too many "i"s in "rinvigorir", which in Italian are pronounced as in bee).[12][13]
Idomeneo was performed three times in Munich. Later in 1781 Mozart considered (but did not put into effect) revisions that would have brought the work closer into line with Gluck's style; this would have meant a bass Idomeneo and a tenor Idamante.
A concert performance was given in 1786 at the Palais Auersperg in Vienna. For this, Mozart wrote some new music, made some cuts, and changed Idamante from a castrato to a tenor.
The approach of the 150th anniversary of Idomeneo's premiere placed some major European opera houses in a quandary: commemorative performances of so magnificent and historically important a score seemed obligatory, but, at the same time, how dared they mount an opera that 1930/31 audiences were bound to reject as hopelessly unstageworthy? The solution hit on in Munich and Vienna was to have Idomeneo adapted for modern tastes, but to show due reverence to Mozart's genius by entrusting the adaptations to famous twentieth-century opera composers with impeccable credentials as Mozarteans. Thus Munich commissioned an Idomeneo revision from Ermanno Wolf-Ferrari, performed in 1931, and the same year the Vienna State Opera presented a distinctively interventionist version of the score by Richard Strauss.
For his adaptation of Idomeneo, Strauss employed a German libretto by Lothar Wallerstein that was partially a translation of the original Italian libretto, but with some changes to reflect the rearranging of the music. Strauss replaced about 1/3 of Mozart's score with some of his own music (even introducing the "Fall of Troy" motif from his own 1928 opera Die ägyptische Helena), and rearranged much of the music left behind. For example, Ilia's opening aria "Padre, germani, addio!" is mostly intact with a few changes to the long introductory recitative, but when Idamante (specifically written to be sung by a tenor in this version) enters, he sings Mozart's Non piu, tutto ascoltai, K490 (which was added to Mozart's original revision of Idomeneo) instead of "Non ho colpa". A few major changes to the plot were made as well, such as changing princess Elettra to priestess Ismene. Critics have noted that Strauss's additions contain an interesting blend of the classical style of composition and Strauss's own characteristic sound. In 1984, New York's Mostly Mozart Festival presented Strauss's version with Jerry Hadley in the title role, Delores Ziegler as Idamante, and Alessandra Marc as Ismene.[15]
Woodwinds: 2 flutes, piccolo (only in the storm of act 2), 2 oboes, 2 clarinets, 2 bassoons. B clarinets (an instrument that is now obsolete) are used in No. 15 (pp. 283ff in NMA) and No. 19 (pp. 352ff).
Brass: 4 horns (in D, in C, in B-flat (alto)/in B (hoch), in G), 2 trumpets in D, 3 trombones (only accompanying the off-stage voice of Neptune in act 3)
Title pages (Italian and German) from the first version of the original libretto
Overture
The overture, in D major and common time, is in a modified sonata form in which the development is but a very short transition section connecting the exposition with the recapitulation. Other conventional hallmarks of the sonata form are apparent: the exposition modulates from the tonic (D major) to the dominant (A major), while the recapitulation is centred on the tonic. The overture concludes with a coda ending in D major chords. These chords, soft and tentative, turn out not to be a resolution of the overture in the tonic but chords in the dominant of G minor, which is the home key of the scene that immediately follows.[17]
Act 1
Island of Crete, shortly after the Trojan War. Ilia, daughter of the defeated Trojan King Priam, has been taken to Crete after the war. She loves Prince Idamante, son of the Cretan King Idomeneo, but hesitates to acknowledge her love. Idamante frees the Trojan prisoners in a gesture of good will. He tells Ilia, who is rejecting his love, that it is not his fault that their fathers were enemies. Trojans and Cretans together welcome the return of peace, but Electra, daughter of the Greek King Agamemnon, is jealous of Ilia and does not approve of Idamante's clemency toward the enemy prisoners. Arbace, the king's confidant, brings news that Idomeneo has been lost at sea while returning to Crete from Troy. Electra, fearing that Ilia, a Trojan, will soon become Queen of Crete, feels the furies of the underworld rise up in her heart (aria: "Tutte nel cor vi sento, furie del crudo averno" – "I feel you all in my heart, furies of the cruel underworld").
Idomeneo is saved by Neptune (god of the sea) and is washed up on a Cretan beach. There he recalls the vow he made to Neptune: to sacrifice, if he should arrive safely on land, the first living creature he should meet. Idamante approaches him, but because the two have not seen each other for a long time, recognition is difficult. When Idomeneo finally realizes the youth that he must sacrifice for the sake of his vow is his own child, he orders Idamante never to seek him out again. Grief-stricken by his father's rejection, Idamante runs off. Cretan troops disembarking from Idomeneo's ship are met by their wives, and all praise Neptune.
Act 2
At the king's palace, Idomeneo seeks counsel from Arbace, who says another victim could be sacrificed if Idamante were sent into exile. Idomeneo orders his son to escort Electra to her home, Argos. Idomeneo's kind words to Ilia move her to declare that since she has lost everything, he will be her father and Crete her country. As she leaves, Idomeneo realizes that sending Idamante into exile has cost Ilia her happiness as well as his own. Electra welcomes the idea of going to Argos with Idamante.
At the port of Sidon (a fictional city of Crete), Idomeneo bids his son farewell and urges him to learn the art of ruling while he is away. Before the ship can sail, however, a storm breaks out, and a sea serpent appears. Recognizing it as a messenger from Neptune, the king offers himself as atonement for having violated his vow to the god.
Act 3
In the royal garden, Ilia asks the breezes to carry her love to Idamante, who appears, explaining that he must go to fight the serpent. When he says he would rather die than suffer the torments of his rejected love, Ilia confesses her love. They are surprised by Electra and Idomeneo. When Idamante asks his father why he sends him away, Idomeneo can only reply that the youth must leave. Ilia asks for consolation from Electra, who is preoccupied with revenge. Arbace comes with news that the people, led by the High Priest of Neptune, are clamoring for Idomeneo. The High Priest tells the king of the destruction caused by Neptune's monster, urging Idomeneo to reveal the name of the person whose sacrifice is demanded by the god. When the king confesses that his own son is the victim, the populace is horrified.
Outside the temple, the king and High Priest join Neptune's priests in prayer that the god may be appeased. Arbace brings news that Idamante has killed the monster. As Idomeneo fears new reprisals from Neptune, Idamante enters in sacrificial robes, saying he understands his father's torment and is ready to die. After an agonizing farewell, Idomeneo is about to sacrifice his son when Ilia intervenes, offering her own life instead. The Voice of Neptune is heard. Idomeneo must yield the throne to Ilia and Idamante. Everyone is relieved except Electra, who longs for her own death. Idomeneo presents Idamante and his bride as the new rulers. The people call upon the god of love and marriage to bless the royal pair and bring peace.
List of arias
Act 1
"Padre, germani, addio" ("Father, brothers, farewell"), Ilia
"Non ho colpa" ("I am not guilty"), Idamante
"Tutte nel cor vi sento furie del cupo averno" ("I can feel you all in my heart, furies of the dark hell"), Electra
"Vedrommi intorno" ("I shall see around me"), Idomeneo
"Il padre adorato" ("My beloved father"), Idamante
Act 2
"Se il tuo duol" ("If your pain"), Arbace
"Se il padre perdei" ("If I lost my father"), Ilia
"Fuor del mar" ("Out of the sea"), Idomeneo
"Idol mio" ("My sweetheart"), Electra
Act 3
"Zeffiretti lusinghieri" ("Zephyrs caressing"), Ilia
"Se colà ne' fati è scritto" ("If it is written in the destiny"), Arbace
"No, la morte io non pavento" ("No, I am not afraid of dying"), Idamante
"D'Oreste, d'Ajace ho in seno i tormenti" ("I feel Orestes's and Ajax's torments in my heart"), Electra
^Kurt Kramer, "Antike und christliches Mittelalter in Varescos Idomeneo, dem Libretto zu Mozarts gleichnamiger Oper" in Mitteilungen der Internationalen Stiftung Mozarteum, xxviii/1–2 (1980), 6.20
^Unusually for composer–librettist interactions, there is strong documentation, since Varesco was living in Salzburg, near Mozart's father Leopold: Mozart wrote forceful letters expressing his wishes to his father, who communicated in person with Varesco. Spaethling describes the working arrangements and provides in translation the text of Mozart's letters. Spaethling, Robert (2005). Mozart's Letters, Mozart's Life. New York: Norton. p. 208. ISBN9780393247961.
