Wolfgang Amadeus Mozart’s Idomeneo at the Lyric Opera of Chicago is opera as it should be, transcending all expectations. Don’t miss it! Indeed, we wonder why this uncommonly extraordinary performance did not open the Lyric Opera of Chicago season. Happily, after going dark for more than a week, forcing the initial performance scheduled for October 13 to be cancelled, the unfortunate dispute between the Musicians’ Union representing the Orchestra of the Lyric Opera of Chicago and management was successfully resolved, and Idomeneo was presented Thursday evening. The entire cast, without exception, sang splendidly, deftly handling the technically demanding florid passages and challenging long phrases, while creating real and distinct characters that earned our sympathy (thank the gods). On all counts, it was a glorious occasion.
Mozart began writing operas at the age of eleven, and had completed a dozen, or so, before he began work on Idomeneo in 1780, at the ripe old age of twenty-five. Considered to be his first “mature” opera, it is written in the “Opera Seria” style, literally “Serious opera”, a musical drama with a series of recitatives and set pieces in the early 18th century Baroque manner based upon Classical Greek or Roman themes, a form he would not return to until his final opera La Clemenza di Tito ten years later. This exquisite music, if not as well-known as his later masterpieces, is the cornerstone upon which all opera coming after it has been built, leaving no doubt of Mozart’s greatness. For that reason alone, go!
The orchestra, conducted by Sir Andrew Davis, was enthusiastically cheered before and after each curtain with shouts of support for the union from the audience. They played with a full, luxurious sound that remained within the stately structure of the classical period, and brought out all the color, nuance and innovation that raises Mozart above his peers. For that reason alone, go!
The production designed and directed by the late great Jean-Pierre Ponnelle (which by now, is probably older than the singers on the stage, yet still looks as fresh as it did when it was premiered in Köln in 1971) is in and of itself a timeless work of art. Visually pleasing, and beautifully lit by lighting designer Chris Maravich (thank the gods), Ponnelle’s setting evokes the time and place of the opera, while still allowing the audience to extend the themes in their imaginations to encompass all time and place. Ancient Grecian columns frame the stage and the mighty upstage center mask of Neptune, the real antagonist of the drama. Neptune, representing the unpredictable oceans of which he is king, is always present, either as a specter behind painted scrims, fully visible in his terrifying aspect, or even hidden from view. Above all, as it should, this stage set brilliantly serves the drama. For that reason alone, go!
The action takes place on the island of Crete after the decade long Trojan War. On his long way home, Idomeneo, King of Crete, has been caught in a raging storm at sea. He begs Neptune to spare him and in return, promises to sacrifice the first person he encounters upon shore. As operatic luck would have it, it turns out to be his own son, Idamante. Of course, father and son haven’t seen each other in years and don’t instantly recognize each other. Nevertheless, Neptune is going to expect the sacrifice Idomeneo promised.
For a story based in mythology and ancient history, it’s not hard to follow, even by opera standards. A father, who happens to be a king, loves his son and doesn’t want to lose him. We get that. That son, Idamante, has fallen in love with the Trojan Princess Ilia, being held prisoner in Crete. That happens. Princess Elettra, daughter of the Greek King, with whom Crete is allied, thinks Idamante should marry her, not the daughter of the enemy. Nothing out of the ordinary going on here. The excellent supertitles by Francis Rizzo are not at all stuffy, but explain the action and feelings understandably without dumbing it down (thank the gods). For fuller enjoyment you may want to check your crib notes from Greek mythology and the history of the Trojan War, but it’s not necessary. As in so many great stories, the large scale events provide the context for the more intimate human emotions.
Mr. Ponnelle’s original stage direction was faithfully re-set by David Knuess, who assisted Ponnelle when the production was mounted at the Metropolitan Opera in 1982 and Salzburg in 1983. Ponnelle’s consummate stagecraft subtly ensures that our attention is always drawn to the heart of the drama. Contrary to the habits of those who think they are following in the footsteps of the visionary director, absolutely nothing ever moves without a reason. No meaningless business or distracting bits. We were granted the luxury of having the singers just stand still and sing, allowing their voices to be most expressive (thank the gods)! It was one of the most moving performances seen and heard in years. For that reason alone, go!
The title role could have been written for Matthew Polanzani, who hails from Evanston and enjoys a deservedly respected career on the international stage. A true Mozartian, this role is perfect for him, his voice being better suited to this repertoire than Bel Canto or Romantic styles. His singing was superb and he gave a completely satisfying dramatic reading of the tormented father and king. For that reason alone, go!
With striking stage presence and a voice with the palette of a Monet painting, Angela Brower, reminiscent of the incomparable Frederica Von Stade, is a tremendous artist. In the role of Idamante, created for a castrato, re-worked for a tenor, but now most successfully performed by a mezzo-soprano, she gave us several of the evening’s most memorable vocal moments. Even when not uttering a sound she was riveting: Idamante’s shock and horrific pain at being rejected by his father was heartbreaking and later, during Ilia’s aria “Zeffiretti lusinghieri”, a scene that could be corny if not played just right, Idamante is visible at extreme upstage center receiving the unseen caresses carried from afar by the breezes. It took the breath away from even the most jaded of opera goers. His acceptance of his fate, and his willingness to give his life for the well-being of the community made a profound impact. For that reason alone, go!
As Ilia, Chicago native and former Chicago Opera Theater, Merola Opera, and LA Opera Young Artist, Janai Brugger was exquisite. The warm glow and golden tones of her shimmering lyric soprano lent itself to an ingenuous portrayal of the princess torn between love for her family and country and her love for Idamante. Whenever she graced the stage, she infused it with the power of hope. Ultimately, when the happiness she deserved was bestowed upon her, we shed tears of joy! After the season opener of the unfortunate La Bohème, we feared that we had become incapable of crying. For that reason alone, go!
The remarkable Erin Wall, marathon runner and soprano with a voice like diamonds set in platinum, was a sympathetic and vulnerable Elettra. She portrayed not an un-hinged shrew, but a high-strung princess used to getting her own way. In spite of Wall’s ongoing battle against cancer, her voice was never more beautiful (thank the gods!). In her rage arias her voice was spectacular and provided a perfect dramatic foil to her rival, Ilia, difficult even for someone with 100% perfect health. Wall’s Elettra was not motivated by mere jealousy of a romantic rival, but was driven to despair by the unthinkable and perhaps racist idea that Idamante would fall for an inferior Trojan woman. This assault on her sense of the proper order of things was so powerful that it resulted in a believably frenzied spontaneous death, a feat most singers are not capable of pulling off with dramatic success. To top it off, she looked fabulous in a stunning, if somewhat unwieldy, 18th Century gown with panniers which on the freeway would require red flags and a “WIDE LOAD” sign. For that reason alone, go!
David Portillo provided a solid and stable presence as Arbace, Idomeneo’s confidante. Arbace’s aria is unforgiving and demanding, yet Portillo sang superbly with musicianship, virtuosity and an urgent pathos reflecting his patriotism and loyalty to his king.
In addition to the Ryan Center alumni: Mr. Polenzani, Ms. Wall and Mr. Portillo, the uniformly excellent cast included current members of the program including Josh Lovell and Alan Higgs as two Trojan Men, Whitney Morrison and Kayleigh Decker as two Women of Crete. Each made worthy contributions and showed promise for the future, most notably Ms. Morrison. The voice of Neptune was chillingly sung by David Weigel (no spoilers, but gasps were heard) and Noah Baetge was fully credible as the High Priest. In these roles, as well as the principle roles, opera cognoscenti will enjoy recognizing the nascent characters which will eventually populate Mozart’s later works. Credit must be given to the Ryan Center for their advocacy of young talent, and to the Lyric for giving them the opportunity on the stage of, on this night, a major international opera house. It should be noted that the employment of young artists may represent a significant cost saving to LOC, yet these young artists gave us greater satisfaction than many “world class” artists would have provided (thank the gods).
Under the direction of Michael Black, the Lyric Opera Chorus sang magnificently in the big moralizing choruses that ended each act, and most impressively in the delicate “Placido è il mar” in Act II. They played their part well representing the people of Crete as a traditional Greek Chorus, reacting as one with stylized movements that were both emotionally affecting and that effectively served both the music and drama.
With respect to the recent contract dispute, it should be said that over past seasons we have had issues with a few programming decisions, issues with some singers’ performances, and issues with too many of the productions. However, we have never, ever had an issue with this orchestra. It is, especially under the baton of Sir Andrew, of the highest caliber, truly world-class, an over-worked phrase we try not to use. Their excellence stands as testimony to the unquestionable necessity of a top rank orchestra to the existence of a top rank opera house. They deserve a contract commensurate with their standing.
Bottom line: Idomeneo should not be missed. A young couple attending their first opera ever said they were enthralled, and that they were definitely coming back for more (thank the gods). Did we say you should go? Indeed, Go! Go! Go to Idomeneo.
Performances continue October 21, 24, and 28 and November 2. You might be able to get tickets at the door, but that would be a shame, because these performances should be sold out. Nevertheless, tickets are available on line at www.lyricopera.org or call 312-827-5600.
