There is a reason young singers often begin with Mozart, and why Idomeneo is a frequent choice in prestigious vocal competitions: its frequent melodic leaps, lengthy phrases, and demanding coloratura make it an exceptionally challenging opera. No principal role is spared from its vocal demands.
The story, involving a Cretan king condemned to sacrifice his own blood by a supernatural decree, was first introduced to Mozart through the French Idomenée, a tragédie lyrique by Antoine Danchet and André Campra. While this theme, once common in eighteenth-century opera, may seem less appealing to modern audiences due to its classical framework, Mozart revitalised it with his Italian-influenced orchestral writing and frequent dramatic contrasts in strings and winds.
The Ravinia Festival’s semi-staged production highlighted the vocal and dramatic challenges of Idomeneo without the benefits of a traditional opera staging. Under James Conlon’s musical direction, the orchestra played a lyrical and animated role, particularly in the numerous choral sections. His influence was particularly notable in the ensemble piece “Andrò, ramingo e solo,” where he provided a clear sense of direction amidst the principals’ anguished refrains. Stage director Harry Silverstein and the cast impressed with their innovative use of orchestral space, aisles, walls, and even the conductor’s stand, creating a setting that was neither Crete nor suburban Chicago, but something unique in its own right.
Following a robust but conventional overture by the Chicago Symphony Orchestra, soprano Andrea Carroll emerged from behind the orchestra as Ilia, delivering a poignant “Padre, germani, addio.” Although she occasionally seemed hesitant to fully engage with the upper reaches of her character’s tessitura, her rich middle register and beautifully controlled vibrato more than compensated. These qualities were evident in her Act III “Zeffiretti lusinghieri,” where Carroll fully embraced her character’s message of love, demonstrating impressive ease and warmth in both her coloratura passages and sustained notes.
Mezzo-soprano Samantha Hankey made a notable impression as Idamante, with her performance of “Non ho colpa” showcasing a strength and vitality rarely seen in this role. Her ability to bring a vibrant “squillo” to the top of her range, while maintaining a resonant darkness in her lower register, was particularly striking. Veteran tenor Matthew Polenzani demonstrated a commanding presence as Idomeneo, clearly at ease with the role. His dynamic control in “Fuor del mar” energized the audience, with his agile runs adding a palpable sense of excitement to the notorious tenor aria.
The vocal power of the chorus in Act I’s “Godiam la pace” initially felt overwhelming in the intimate Martin Theater, but by Act II, this strength proved more effective in pieces such as “Corriamo, fuggiamo.”
Tamara Wilson excelled in Idomeneo as Elettra, the vengeful princess, delivering a performance filled with passionate beauty and heartfelt sincerity. Her rendition of “Tutte nel cor vi sento” was a masterclass in Mozartian rage arias, skillfully balancing the intense passion required for Elettra’s most furious moments with a dark, compelling coloration in her pleas for mercy. Wilson’s visceral passion continued through her final “D’Oreste d’Ajace,” establishing her as a standout Elettra.
Despite significant cuts to the role of Arbace, tenor Anthony León, a 2022 Operalia winner, showcased a beautifully lyrical quality in his performance of “Se il tuo duol.” Bass Morris Robinson also deserves special mention for his role as the off-stage voice of the Oracle of Neptune. His dynamic and resonant tone commanded attention, even within his limited stage time.
Overall, the cast demonstrated that a naturalistic approach to opera seria is achievable with minimal staging. Chicago-area audiences are fortunate that the Ravinia Festival brings such high-caliber singers to perform one of Mozart’s most demanding operas.
Photos: Courtesy of Ravinia Festival / Patrick Gipson
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