Idomeneo, composed by the 25-year-old Mozart for the Munich carnival season, draws upon the mythological tale of the King of Crete returning from the Trojan War. A fierce storm hits Idomeneo's ships just off the island, prompting the king to promise Neptune that, should he survive, he will sacrifice the first being he sees upon safely reaching shore. In pure Greek mythological fashion, this turns out to be no other than his own son, Idamante. Desperate to avoid this sacrifice, Idomeneo finds himself in a dilemma. Neptune, angered by the delay, sends a terrifying sea monster to wreak havoc on Crete.
Amidst this turmoil, a love triangle unfolds between Idamante, Ilia (a Trojan princess held captive), and Electra (yes, that Electra, daughter of Agamemnon), who is a guest in Crete and also harbours feelings for Idamante. In a departure from traditional myth, the opera concludes with an Enlightenment twist: Neptune deems the sacrifice unnecessary, and Idamante and Ilia are allowed to marry and rule over Crete, while Idomeneo must abdicate. Electra is furious.
Choreographer Sidi Larbi Cherkaoui, Artistic Director of the Grand Théâtre de Genève, transforms the opera into a ballet, with dancers constantly moving on stage, with breakdance-like figures close to contortionism. The set design, crafted by artist Chiharu Shiota, consists mainly of ropes (predominantly red) hanging from the ceiling in abundance, swirling around and entangling the performers, or resembling fishing nets ensnaring people. This profusion of movement and visual spectacle overshadows not only the singers but also the musical experience itself. Singers are frequently engaged in awkward and distracting choreography involving the ropes, which steals a lot of their attention, parasitising their performance.
While some of Cherkaoui's visuals are striking, the relentless contortions on stage proves overwhelming and hard to watch for sustained periods, without aiding either the narrative nor the musical experience. His direction seems to view Mozart's music as a necessary burden, rather than the main focus of the performance. Ultimately, the abundance of movement and visuals results in a disjointed and disorienting experience.
Leonardo García Alarcón led a group consisting of his own Cappella Mediterranea, supplemented by members of the Geneva Chamber Orchestra, in a meticulous and musically rich interpretation. However, the ensemble's sound occasionally felt lacking in depth, missing the desired richness. García Alarcón conducted with assertiveness and vigour, employing well-judged tempos and dynamic contrasts to drive the action forward.
Tenor Bernard Richter stepped in for Stanislas de Barbeyrac as Idomeneo, delivering a performance marked by beautiful timbre and powerful high notes. However, his coloratura passages lacked precision and clarity, perhaps exacerbated by the physical demands of performing "Fuor del mar" (one of the most difficult arias in this repertoire) while contorting within a boat frame.
Federica Lombardi delivered a standout portrayal of Elettra, her commanding soprano conveying both the elegiac and furious aspects of the character with conviction. Her natural dignity and elegance, both vocally and physically, breathed life into the role of the haughty princess. Lombardi's impeccable breath technique allowed her to sustain long, finely crafted phrases even in the most demanding passages. Her “D'Oreste, d'Ajace” shook the house.
Giulia Semenzato portrayed Ilia, the Trojan princess, with a silvery soprano that excelled in the higher register. While her voice was sweet and beautiful, she sometimes lacked projection, particularly evident during “Zeffiretti lusinghieri”, performed while revolving on a suspended spiral, her voice coming and going. Not the most enlightened of directing ideas.
Lea Desandre, the only singer with professional dance training, navigated the production adeptly, her movements exhibiting a natural fluidity. Her interpretation of Idamante was a highlight, characterized by a bronzed mezzo with a youthful freshness. Desandre's poignant love duet with Semenzato, performed with no dancers on stage, provided a touching respite from the relentless busyness and twirling of hands.
Oscar Mancini portrayed Arbace, Idomeneo's confidant, with a powerful tenor imbued with an Italianate quality. Though his voice occasionally seemed constricted, his rendition of “Se colà ne' fati è scritto” was pleasing, culminating in a confident high C sharp. The chorus of the Grand Théâtre delivered a commendable performance, showcasing precise dynamics, tempos and ensemble cohesion. However, their impact was diminished during Act 1's storm scene by the disgraceful decision to have half of the chorus sing offstage, amplified through the theatre’s speakers.
In the final scene, Cherkaoui opts to have Idomeneo kill Idamante and Ilia while proposing marriage to Elettra, thus retaining his kingship of Crete. The rationale behind this decision remains unclear.
Laura's travel to Geneva was funded by the Grand Théâtre de Genève
