United States Mozart, Idomeneo: Soloists, Refrain and Orchestra of San Francisco Opera / Eun Solar Kim (conductor). Struggle Memorial Opera Home, San Francisco, 14.6.2025. (HS)
At their hearts, all of Mozart’s nice operas are investigations into human habits, and Idomeneo, the composer’s early opera seria, isn’t any exception. Australian director Lindy Hume’s staging for San Francisco Opera takes a deep dive into the emotional wreckage we people will be within the wake of calamity.
The manufacturing – which was first staged by Opera Australia in Melbourne in 2023 – was now making its United States debut on the Struggle Memorial Opera Home and supplied a considerate, eye-catching body for some wonderful singing. The 4 key roles had been forged with artists aware of their roles, and it confirmed. Tenor Matthew Polenzani within the title function, mezzo-soprano Daniela Mack, dramatic soprano Elza van den Heever and, particularly, lyric soprano Ying Fang customary the music with readability and conveyed the essence of every character.
However the factor that put this three hours-plus efficiency excessive was the inventiveness of the manufacturing and the eager consideration to particulars that made all of it come to life.
The story, rooted in historical Greek myths and legends, is about in Crete, Greece’s largest island. Pictures from Tasmania, Australia’s largest island, present the ambiance right here with evocative projections utilizing freshly shot movies of the ocean, rocks and forests of the scenic island, which has its personal historical civilizations and legends. The artistic group even issued a message of ‘respect to the Palawa/Pakana First Individuals and conventional custodians of the lands, coastal waters and forests’.
Uncannily, these projected photos, generally shifting so slowly that they look like nonetheless, mirrored the particular feelings the characters are coping with. Additionally they added mandatory splashes of coloration to the largely grey and white units and costumes. The fundamental set is an oblong room with partitions made from white scrim materials. A single door on every wall is framed in eighteenth-century type in white, making for a setting that evokes Mozart’s period. Anna Cordingley’s costume designs dress everybody in trendy gown, additional extending the humanity-centric interpretation of the story greater than classical Greek garb would.
The distinction between the human-made room and the vivid projected scenes underlines the theme of humanity vs. the forces of nature that pervade the story. Within the first scene, King Idomeneo survives a storm as he returns from a victory over Troy. He thanks the god Neptune for saving him by promising to sacrifice the primary human he sees. When that seems to be his son, his refusal to take action unleashes a sea monster that (actually) plagues the populace. Closeup photos of rocks appear like micro organism hovering.
Story problems heart on a budding romance between Idomeneo’s son Idamante and the Trojan princess Ilia (who is usually bathed in inexperienced photos and lighting), and the jealousy of Elettra, a princess from Argos, who has her coronary heart set on Idamante. Pictures of splashing storm waves tinted purple replicate her fury within the dramatic Act III aria ‘D’Oreste, d’Ajace ho in seno i tormenti’ (‘I really feel Orestes’s and Ajax’s torments in my coronary heart’), which van den Heever delivered with savory explosiveness.
That was one of many highlights on the musical facet. Much more beguiling had been Ilia’s arias, which benefitted from Fang’s attractive, pliant ease and sincerity. ‘Padre, germani, addio’ (‘Father, brothers, farewell’) opened Act I with sheer great thing about tone and presence, and ‘Zeffiretti lusinghieri’ (‘Zephyrs caressing’) set a deceptively meditative tone for the action-filled closing act. Making her firm debut (she has sung this function with the Metropolitan Opera), she rose to the event magnificently.
Matthew Polenzani within the title function demonstrated tireless command of the king’s difficult music as he responds to all of the catastrophes surrounding him, supplemented with performing that caught all of the shifts in fortune. If the florid passages in his Act II aria ‘Fuor del mar’ (‘Out of the ocean’) elided a bit an excessive amount of, the piercing impact of his clear, shiny tenor made the many of the noble closing aria. ‘Torna la tempo’ (‘Peace comes once more’) introduced the lengthy night as much as the mountaintop.
Earlier than Act III, common director Matthew Shilvock introduced that mezzo-soprano Daniela Mack was feeling underneath the climate. This may increasingly clarify why her Acts I and II had been note-perfect however with not fairly the emotional depth of her finest performances (together with this function the final time this firm staged the opera in 2009). Act III, it turned out, was a lot better, her voice mixing effectively with the others.
As Arbace, Idomeneo’s confidant, tenor Alek Schrader made probably the most of ‘Se il tuo duol’ (‘In case your ache’), an aria that’s normally reduce, and he supplied a welcome baritone sound in opposition to Polenzani’s shine. Arbace’s Act III aria was trimmed to simply the recitative, as had been the ballet music and quite a few recitatives to deliver the run time to about 3½hours.
Additionally making sturdy contributions vocally had been tenor Samuel White because the Excessive Priest of Neptune and bass-baritone Jongwon Han because the Voice of the Oracle. Each are present Adler Fellows.
The corporate’s music director, Eun Solar Kim, conducting this opera for the primary time, drew loads of Mozartian vigor from the orchestra which now is aware of her so effectively. She additionally acquired best balances with the voices and created a exceptional sense of inevitability within the many arias, ensembles and choruses.
Harvey Steiman
Creatives:
Director – Lindy Hume
Units – Michael Yeargan
Costumes – Anna Cordingley
Authentic Lighting designer – Verity Hampson
Revival Lighting designer – Justin A. Partier
Projections – David Bergman
Set design marketing consultant – Richard Roberts
Cinematographer – Catherine Pettman (Sheoak Movies)
Refrain director – John Keene
Solid:
Idomeneo – Matthew Polenzani
Idamante – Daniela Mack
Ilia – Ying Fang
Elettra – Elza van den Heever
Arbace – Alek Shrader
Excessive Priest of Neptune – Samuel White
Voice of the Oracle – Jongwon Han
