Tempestuous triumph, but where’s the sea monster?
THIS production, which is touring the country, is well worth catching if it comes near you. The score is chock-full of dramatic or beguiling music and it is very well sung and played.
The story, set on Crete after the Trojan War, is a variation on the old legend of a king, caught in a storm at sea, swearing that, if he is spared, he will sacrifice the first person he sees.
Of course, it turns out to be his own child — in this case, his son.
Idomeneo himself is sung and acted brilliantly by tenor Christopher Turner. His music, especially the aria Fuor Del Mar, is often very difficult, but he takes such things in his stride and dominates the evening.
We hear the original 1781 version but, with castrati being in short supply these days, son Idamante is portrayed by mezzo-soprano Catherine Carby.
The captive Ilia, daughter of King Priam of Troy, is sung by Galina Averina.
Between them, they have some of the best music and they combine well.
The permanently furious Elettra, daughter of King Agamemnon, often comes across as a very demanding role, but Paula Sides sails through.
James Conway’s production, Rory Beaton’s lighting and Frankie Bradshaw’s sets make clever use of the 20-strong chorus.
But surely, in these days of back-projections, we could have the sea monster that plays such a pivotal role in the action?
The costumes suit a more modern Crete, but do not jar.
Sometimes, I felt conductor Jonathan Peter Kenny was driving his superb little orchestra unremittingly hard and I wanted more room to breathe. I suppose it is a fault in the right direction.
Idomeneo (English Touring Opera) Verdict: Mozart at his best