THE SUCCESS OF IDOMENEO

Opera returns to Le Muse theatre after sixty years, with “Idomeneo, Re di Creta”

On the sixth of November, in a white and geometric metaphysical setting, Pier Luigi Pizzi brought Mozart’s Idomeneo, Re di Creta to the stage of Le Muse theatre. The interpretation of this opera was entrusted to a cast, which complied with its difficult structure, based primarily on arias for soloists; here, tragedy is consumed in the enclosure of single identities, and the chorus, a visual counterpoint of great impact in its black costumes, emerges from the rear of the stage and then lays itself out in harmony with the essential lines of a changing and fluid scenography, animated by space-transforming movements, with dramatic meaningful moments and musical modulation, skilfully conducted by maestro Gerard Korsten.

A spot-on choice for the opera comeback at the Teatro delle Muse, re-opened after sixty years of inactivity. And, beyond the controversies as to the quality of the hall’s acoustics and the spectators’ view from the boxes lining the sides of the theatre, which was renovated to purvey the feeling of being in a town square, this production of Idomeneo has met the audience’s and critics’s favour.

 “In the beautiful, totally white scenes (contrasted by black costumes), Pier Luigi Pizzi has used all the moving bridges: staircases and walls that collapse or emerge, ships that disappear in the waves, and pillars lightly moving by. It was a beautiful, elegant and clean performance. An idea of the artistic vitality also needed to be portrayed, and this too was achieved successfully. Gerard Korsten conducted the Orchestra Filarmonica Marchigiana well, at the peak of its glorious abilities, and the Vincenzo Bellini choir was equally well prepared by Carlo Morganti. The performances were all excellent, from Mariella Devia to Eva Mei, Charles Workman and Francesca Provvisionato”.

(Michelangelo Zurletti, La Repubblica)

“The colours used as symbols, of costumes – Idomeneus’s red and Electra’s violet – and of lights, with their strong dramaturgic semiotics. Every item has a precise function – the empty throne, the sacrificial altar that later becomes Ilia and Idamantes’ wedding altar in the same place where, a little earlier, Electra had chosen to put a stop to her anguish. The naked Neptune, who makes the scene vibrate in its imposing and eloquent classicism”

(Giulia Visci, il Messaggero)

 “The characters’wax-white faces contrast with the raven-black of their hair. A good high-low use of lights reinforces the nature of representative movements. (....) An enthusiastic and, above all, educated audience, ready therefore to criticise any incongruities”.

(Maria Grazia Frattagli, Il resto del Carlino)

“Vocal virtuosity and hedonism, namely agile, elegant and vocalised singing, with a flowing, tender and pathetic melodiousness, all merge in this edition of the opera at the highest level of expressiveness, both individual and as a whole: the protagonists’ bravura joins the incisive performance of our Bellini Choir, taught by Carlo Morganti”.

(Fabio Brisighelli, Corriere Adriatico)

“It is thanks to Pier Luigi Pizzi that we achieved a performance of such dazzling beauty, fitting in perfectly with the framework set by the Vincenzo Bellini Choir and the Orchestra Filarmonica Marchigiana, wonderfully inspired by Gerard Korsten. The strong points of the singing company included the foreseeable skill of Mariella Devia, outstanding in her dramatic interpretation (new to her) of Electra, and the much less foreseeable William Workman, an excellent protagonist. They were well supported by the couple (vocally on a narrow gauge) formed by Eva Mei (Ilia) and Francesca Provvisionato (Idamantes), and by Jorge Schneider (Arbaces), Cristiano Olivieri (High Priest) and Riccardo Zanellato (the voice of the Oracle), all giving exceptional performances”.

(Giorgio Gualerzi, Famiglia Cristiana)