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.