Idomeneo Mozart

Posted : admin On 1/26/2022
Idomeneo mozart opera

More info on Idomeneo

One of Mozart’s noblest characters, King Idomeneo of Crete is also the most loving of operatic fathers. Shipwrecked, he gets safely to shore only after promising Neptune to sacrifice the first person he sees—but it’s his son, Idamante. Idomeneo, K.366 (Mozart, Wolfgang Amadeus).

For Mozart, this relationship was a dominant feature of his life, and it inspired Mozart in shaping the relationship between Idomeneo and Idamante. Mozart was a master of psychodrama. He had a tremendous understanding of people and their needs and masterfully shifted drama to music. Mozart loved the grandiose style. And Idomeneo is the most grandiose opera music he ever composed. Mozart considered that, overall, his very best work of all his life productions was 'Idomeneo', the grand-style opera seria that he wrote for Munich in 1781, in which he found freedom for his most extreme passionate outbursts.

Idomeneo Mozart Synopsis

Composer:

Wolfgang Amadeus Mozart

Librettist:

Gianbattista Varesco

Premiere:

29 January 1781, Munich (Cuvillés Theater)

Language:

Italian

Synopsis:

Idomeneo Synopsis

Libretto:

Idomeneo Libretto

Translation(s):

Idomeneo Mozart

Idomeneo Libretto English

About the opera Idomeneo

Idomeneo Mozart Ilia's Arias

Length

Idomeneo Mozart Youtube

Idomeneo, re di Creta ossia Ilia e Idamante (Italian for Idomeneo, King of Crete, or, Ilia and Idamante; usually referred to simply as Idomeneo, K. 366) is an Italian language opera by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart.
The libretto clearly draws its inspiration from Metastasio and its overall layout, not to mention the type of character development which Metastasio had developed and mostly from the highly poetic language used in the various numbers and the secco and stromentato recitatives. The style of the choruses, marches, and ballets was very French, and the shipwreck scene towards the end of act I 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.

Idomeneo Mozart Opera

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