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Idomeneo
As rare as productions of Idomeneo are today, they were even rarer in the 1960s. Despite some liberties in this performance, including numerous cuts and the decision to reorder numbers and combine Acts I and II, it remains remarkably faithful to the style of opera seria, even by modern performance standards.
Waldemar Kmentt is near ideal in the title role. By this stage in his career, he had already ventured into heavier repertoire, yet here he proves he hasn't lost touch with his Mozartian roots. His performance combines refined singing with a powerful, burnished tone, and his "Fuor del mar" is a standout for its technical precision and thrilling, full-throated delivery.
Leyla Gencer, not typically associated with Mozart, demonstrates her ability to scale down both her voice and stage presence to meet the subtleties of the score. That said, her ferocious "D'Oreste D'Aiace" recalls the intensity of her Lady Macbeth, making for a gripping moment. Peter Schreier sings Idamante with rock-solid technique, though his voice lacks the inherent beauty of his peers. Margherita Rinaldi offers a rare treat as a full-voiced Ilia, bringing richness to the role.
Wolfgang Sawallisch leads a commanding performance, though some ensemble sections feel a bit slow.
Track List
Act I
1. Ouverture
2. Quando avran fine omai
3. Padre, germani, addio!
4. Ma all'amor mio d'ira, e rossor tu avvampi?
5. Non ho colpa, e mi condanni
6. Godiam la pace
7. Or si dal cielo soddisfatta sarai...
8. Estinto è Idomeneo?
9. Tutte nel cor vi sento
10. Pietà! Numi, pietà!
11. Eccoci salvi alfin.
12. Nettuno s'onori
2. Quando avran fine omai
3. Padre, germani, addio!
4. Ma all'amor mio d'ira, e rossor tu avvampi?
5. Non ho colpa, e mi condanni
6. Godiam la pace
7. Or si dal cielo soddisfatta sarai...
8. Estinto è Idomeneo?
9. Tutte nel cor vi sento
10. Pietà! Numi, pietà!
11. Eccoci salvi alfin.
12. Nettuno s'onori
Act II
13. Tutto m'è noto.
14. Se il padre perdei, la patria, il riposo
15. Qual mi conturba i sensi
16. Fuor del mar
17. Chi mai del mio provò piacer più dolce?
18. Idol mio, se ritroso altra amante a me ti rende
19. Placido è il mar, andiamo
20. Pria di partir, oh Dio!
21. Qual nuovo terrore!
22. Corriamo, fuggiamo quel mostro spietato.
14. Se il padre perdei, la patria, il riposo
15. Qual mi conturba i sensi
16. Fuor del mar
17. Chi mai del mio provò piacer più dolce?
18. Idol mio, se ritroso altra amante a me ti rende
19. Placido è il mar, andiamo
20. Pria di partir, oh Dio!
21. Qual nuovo terrore!
22. Corriamo, fuggiamo quel mostro spietato.
Act III
23. Zeffiretti lusinghieri
24. Odo? o sol quel, che brama finge l'udito
25. Spiegarti non poss'io
26. Andrò rammingo, e solo
27. Sire, alla reggia tua immensa turba di popolo
28. D'Oreste, d'Aiace
29. Accogli, oh re del mar, i nostri voti
30. Oh voto tremendo! Spettacolo orrendo!
31. Padre, mio caro padre, ah dolce nome!
32. Idomeneo, cessi esser re...
33. Scenda Amor, scenda Imeneo
24. Odo? o sol quel, che brama finge l'udito
25. Spiegarti non poss'io
26. Andrò rammingo, e solo
27. Sire, alla reggia tua immensa turba di popolo
28. D'Oreste, d'Aiace
29. Accogli, oh re del mar, i nostri voti
30. Oh voto tremendo! Spettacolo orrendo!
31. Padre, mio caro padre, ah dolce nome!
32. Idomeneo, cessi esser re...
33. Scenda Amor, scenda Imeneo
Customer Reviews
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4.0
Based on 2 reviews
✓ Top Reviewer
United States
Excellent Performance with Many Cuts!
Idomeneo was quite the rarity back in 1968. To have it sung and conducted so well at La Scala at that time was a considerable achievement and Mozartians should be thankful. We don't have to envy them in all things though and the edition used back then would cause outrage and dismay if performed today. The immense cuts and the rearranging of the score are irritating, but that's the way this opera was performed back then. "D'Oreste d'Ajace" is moved up to an earlier, less effective spot in Act Three and Arbace's arias are cut completely. There is no ballet. Some listeners will take umbrage that Idamante is sung by a tenor, but that is Mozart's own alternate version.Kmentt is a terrific, regal Idomeneo and Schreier sings Idamante's music very well. Rinaldi is a lovely Illia with beautiful tone and excellent diction. Her career was overshadowed by Scotto's to some extent although they didn't share that many roles. Gencer is tremendous, capturing Elettra's smoldering rage perfectly. The audience loves her and gives her the biggest applause of the evening. I wish the basses were listed; they're very good. Sawallisch does not belong to the "authentic" school of doing Mozart, but his tempos are alive and brisk. He leads his forces with great spirit.The sound is excellent broadcast mono and there were no technical problems with my copy. This shouldn't be your only Idomeneo, but it does preserve an exciting evening at La Scala.
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✓ Top Reviewer
Slovenia
Martin Ramor
I was allways an admirer of Sawallisch and I'am not dissapointed with his Idomeneo. It's vividly done and I think is a bit shortened version. I didn't like Rinaldi, for me she was a bit weak, but I liked everyone else. Gencer is spectacular in D'Oreste, d'Aiace. Kmentt manages coloraturas in Fuor del mar nicely, Schreier has his specific colour of voice and a good technique. A nice addition to my collection.
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