Mozart’s Idomeneo, like the Greek dramas on which such neoclassical reform operas are based, deals in gods, oracles and monsters. But the Austrian director Martin Kusej has decided to abolish the supernatural. His Idomeneo is the drama of a tyrant whose cultish followers invent the stratagem of a vow to eliminate any threat from his son Idamante as a rival to his throne. Idamante nevertheless succeeds his father but the new regime commits atrocities of its own.
I have no problem with Kusej’s conception as such — autocracy, ambition, subjugation and violence are all inherent to the dramaturgy of the work. But I am less convinced by the execution, for Kusej seems unable to avoid what are commonly regarded as clichés of director’s opera — gun-toting thugs in dark glasses (Idamante’s supporters), black cocktail dress with red gloves and shoes (Elettra) — and sometimes (itinerant one-eyed accordion player, bath rubber sharks) comes perilously close to self-parody.
What makes the evening so rewarding, however, is the superb team of soloists under the stylish baton of Marc Minkowski. Matthew Polenzani has the requisite power and virtuosity for the title role, while Franco Fagioli’s highly strung, intense countertenor serves well for an Idamante as nefarious as this one. No praise can be too high for Sophie Bevan’s radiant, nuanced Ilia and the potent but tormented character of her rival Elettra is marvellously suggested by Malin Byström. Minkowski’s conducting is by turns eloquent and virile, often electrifying.
Kusej was rumoured to have been less than happy with the inclusion of the extended ballet music that closes the work. But in fact he uses it as the backdrop for a series of tableaux that cleverly elucidate and to some extent justify his concept.
It’s good to have this intelligent director’s work represented at Covent Garden, though I would be surprised if this production makes him many friends.
Until November 24 (020 7304 4000, roh.org.uk)
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