Mozart’s Idomeneo

Deals and transactions with horrendous consequences are a standard feature of classical mythology. In order to survive a storm when returning to Crete from Troy, King Idomeneo, agreed with the god of the ocean, Neptune, that he would kill the first human he met on landing safely ashore. He did not anticipate that this person would be his son and heir, Idamante; or that the Trojan princess ─ who also survived, and who is his country’s enemy and a prisoner ─ has fallen passionately in love with the youth. Thereby, Idamante has jilted his fiancée, the formidable Electra, a horror and a matricide, whose hysteria, as expressed in the recitative Estinto è Idomeneo? is a major feature of the opera.

Mozart’s early opera, premiered in Mannheim in 1781 is greatly admired especially for his characterisation. Its expressive recitative and arias anticipate stylistic features which would be developed in his later operas. But Idomeneo did not secure him the permanent appointment which Leopold, his father, knew he needed.

The Quartet Andrò ramingo, Idomeneo’s aria Fuor del mar, Idamante’s Ah qual gelido orror and No, la morte and Ilia’s Zeffiretti lusinghieri are the subject of many recordings by Pavarotti among others.

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