1239:-like scenery was presented on a series of painted scrims as if in an outsized magic lantern show. Soloists were required to strike histrionic poses of pain, regret or joy after being moved hither and thither like pieces on a chess board. The magnificent chorus was made to perform like a ballet company imitating the children's game of playing at being living statues. Initially, Ponnelle's direction of his artists seemed obtrusive and bizarre, but one soon became accustomed to it, and its emphatic exposition of the opera served Mozart very well. This was not to deny that some of the producer's contrivances were disconcerting. For example, there was a point at which the High Priest and his underlings looked like members of the
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grieves over the misery that his vow to
Poseidon will entail for her as well as for himself. Elettra rejoices that Idamante will be by her side on her voyage home to Argos, and is confident that she will be able to turn the prince's heart away from Ilia. She prepares to board ship with him. Idomeneo's farewells to them are interrupted by a new storm that has been stirred up by Poseidon. Lightning ignites a terrible conflagration, and a monster rises from the waves and assaults the island. The Cretans ask whose sin it is that has aroused Poseidon's wrath. Idomeneo confesses his guilt, and asks the god to spare his subjects from a retribution that should fall on him alone. The Cretans flee from the monster in terror.
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have been. Hildegard
Behrens's glowing persona was spoiled by her "inability to sing a smooth legato line" and a tone that was "unduly raucous". Luciano Pavarotti's performance was conscientious, but compromised by clumsy phrasing, breathy whispering, difficulty with ornamentation and heavy reliance on the prompter. Only in a few loud, high notes was he at his best. "A sorry mess, all in all, and a disappointment for anyone who loves this marvellous opera".
336:, the god of the sea, that if he was allowed to set foot on Crete again, he would sacrifice the first living thing that he encountered there. Poseidon granted his wish, but when his ship finally reached his island's shore, the first creature that he met was his son, Idamantes. His slaying of the Prince in accordance with his oath was followed by the outbreak of a plague. Blamed by his people for their misfortune, he was driven into exile in Sallentum in
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Surround
Imaging) technology. Deutsche Grammophon's DVDs offer optional subtitles in Chinese, English, French, German, Italian and Spanish, and are accompanied by a 28-page booklet that includes a synopsis in English, French and German, notes by Richard Evidon in the same three languages, a photograph of James Levine by James Umboh and five production photographs by James Heffernan and William Harris.
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424:("Il nostro molto amato castrato Dal Prato", Mozart joked), the first Idomeneo and the first Idamante respectively. Such difficulties did not prevent Mozart from enjoying his work on his opera greatly, partly because the orchestra at Karl Theodor's court, which had accompanied the Prince to Munich after previously serving him in
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Ponnelle's directing of his singers seemed intended to elicit contempt. Elettra was a "comic-strip harridan", Ilia like "a simpering ninny", Idamante like "a petulant page boy" and
Idomeneo like "an ineffectual board-room president". Some of the actions that they were obliged to carry out were almost
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The High Priest demands that
Idomeneo renders up the sacrifice that Poseidon requires, and Idomeneo explains that the blood that he owes to the god is his son's. Both the people and the priest are appalled by their discovery of who it is that their king is obliged to execute. Prayers and preparations
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on 1 November 1982. Its only merits, he wrote, were its use of a musicologically judicious score and James Levine's pointed conducting. Jean-Pierre
Ponnelle's staging was "ludicrous" and a "monstrosity". His combination of set designs evoking classical times and rococo costumes and wigs was a "tired
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Father and son have been apart for so long that at first, they do not recognize each other. When the king realizes who the young man standing before him is, he rushes away in horror. Idamante is bewildered and overcome by the pain of his father's apparent rejection of him. The Cretan soldiers sing a
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Idomeneo's storm-battered ships reach the Cretan shore. Arbace has been mistaken in his announcement of the king's death. Idomeneo has survived, but the king's relief at his salvation is poisoned by shame and dread. He has promised
Poseidon that he will repay the god's mercy by slaying the first man
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In 2006, Deutsche
Grammophon supplanted Pioneer's DVD with a two-disc Region 0 release (catalogue number 00440-073-4234) providing audio in uncompressed PCM stereo and in ersatz 5.1-channel surround sound DTS and Dolby Digital upmixes synthesized by Emil Berliner Studios with their AMSI II (Ambient
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Act three begins with Ilia soliloquizing over her love. Learning that
Idamante, still confused by his father's ostracism of him, intends to confront the monster in battle, she at long last tells him of her feelings for him. Idomeneo and Elettra urge him to go to Argos. The four combine in a quartet
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Act one begins with Ilia bemoaning the conflict between her burgeoning attraction to
Idamante and her loyalty to her defeated homeland. Idamante reports the sighting of his father's fleet. He declares his love for Ilia and orders the release of his father's Trojan captives. Trojans and Cretans join
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Modern productions of the opera have presented it in a variety of different versions. The Met's first staging in 1982 largely adhered to that conducted by Mozart in Munich 201 years earlier, but with four important exceptions. All were in act three. Elettra's aria "D'Oreste, d'Aiace" and Idomeneo's
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and Duke of Bavaria, to write an opera to be performed in Munich during the carnival season of 1781. Historians think that it was the court rather than Mozart that chose the tale of Idomeneus as a topic. Mozart based his composition upon a treatment of the legend that had been premiered in Paris in
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The casting prioritized famous names over Mozartian expertise. Ileana CotrubaČ™, "inexplicably" popular on the other side of the Atlantic, had a "nondescript" voice and was "unmusical to boot". Frederica von Stade sang "tastefully but wanly", and was unable to make Idamante as imposing as he should
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The cast was a strong one, with Hildegard Behrens incandescent as Elettra and Timothy Jenkins a stentorian High Priest ("although his upper notes tended to be nasal and strained"). None of the principals was gravely disappointing either in ensembles or when singing solo. Luciano Pavarotti eschewed
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Returned from his triumph, Idamante finally understands why his father has been so distant towards him. He willingly yields himself to be slain. As Idomeneo is about to decapitate him, Ilia offers herself to the axe in his place. Poseidon intercedes with a commandment that Idomeneo should abdicate
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on 29 January 1781, and repeated on 3 February and 3 March. The work received only one further staging in Mozart's lifetime, a production in Vienna in 1786 for which Mozart revisited his score to accommodate Idamante's being cast as a tenor. The work was first heard in the United States in 1947 at
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of the opera performed at its premiere in Munich in 1781. Among his deviations from it were his omission of Idamante's act three aria "No la morte" and his cutting of the lengthy ballet that Mozart had composed as a finale. He also reinstated Elettra's exit aria "D'Oreste, d'Aiace" and Idomeneo's
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All home media issues of the film present it framed with an aspect ratio of 4:3 and in NTSC colour. In 1982, Pioneer Artists issued it on a pair of Extended Play CLV (constant linear velocity) Laserdiscs (catalogue number PA-85-134), with English subtitles and CX stereo audio. In 1989, Bel Canto
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Act two opens with Idomeneo confessing his predicament to Arbace. They agree to send Idamante abroad as an escort accompanying Elettra on a mission to Argos to claim her father's crown. Meeting Ilia, Idomeneo realizes that she is in love with Idamante and that her feelings are reciprocated, and
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and later revised for a tenor). Ileana CotrubaČ™ was impressive from Ilia's first note to her last. Hildegard Behrens "flung herself into the villainous role of Elettra with vocal and dramatic abandon, actually stealing the last act from under Mr Pavarotti's nose". Her exit, carried off after a
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Jean-Pierre Ponnelle's staging was stylistically mixed. He set the opera amidst what looked like the crumbling remains of buildings constructed by the ancient Greeks, and yet dressed his singers in apparel reminiscent of the eighteenth century. Ilia was the exception to the rule, clothed in a
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routine", with Idamante prone on a staircase behind her for some reason beyond discerning. The High Priest's insistence that Idomeneo sacrifice his son was communicated by a nudge in the ribs. The moving eyelids on a vast carved face of Poseidon reminded one of a doll's. "Rarely can so much
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On the whole, the production presented an ensemble in harmony with Mozart's spirit. John Alexander was a good, "if somewhat gritty-toned" Arbace, coping well with the ornamentation in arias frequently cut as dramatically superfluous. Pavarotti mostly eschewed embellishments – a couple of
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In 2000, Pioneer Classics issued the film on a DVD (catalogue number PC-11498D) with optional English subtitles and Dolby Digital compressed stereo audio. Pioneer's disc is accompanied by a leaflet that includes a synopsis and notes by David Hamilton, both in English only.
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Arbace enters to tell Idomeneo that the High Priest of Poseidon is leading a crowd of his subjects who wish to speak to him. The counsellor bewails the catastrophe that has befallen Crete, and wishes that it was in his power to ransom the kingdom from the sea god's fury.
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straightforward trills that he did attempt came across as somewhat feeble. Nevertheless, he sang with a degree of aristocratic suavity that was suitable for a sovereign, "and if he slid into tones occasionally, there was no denying that a major voice was on display".
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1215:, he wrote, was maybe the best of all baroque operas. The Met's new staging of the work – the first in its 99-year history – was among the finest of its recent offerings, notable for its "sheer depth of vocal talent, grasp of the grand style and impressive décor".
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Elettra chides Idamante for his magnanimity. Idomeneo's counsellor, Arbace, arrives with the news that the king has drowned in a storm. Elettra expresses her jealous fury that Idamante loves Ilia rather than her, and vows to take a cruel vengeance on her rival.
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Whatever one thought of Ponnelle's contribution to the evening, he allowed his singers to communicate the profound feelings latent in Mozart's music. Frederica von Stade was "marvellously convincing" as the youthful prince (a part initially written for a
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relates that after the Greeks' victory, he led his men through the perils of their journey home without losing a single one of them. Later writings relate that his voyage was afflicted by a violent storm, amidst which he vowed to
1680:, with John Alexander, Hildegard Behrens, Ileana CotrubaČ™, Luciano Pavarotti, Frederica von Stade and the Chorus and Orchestra of the Metropolitan Opera, conducted by James Levine, Bel Canto Paramount Home Video VHS, 2372, 1989
521:. The Cretans are awaiting the return of their king, Idomeneo, from the Greeks' protracted, ultimately victorious campaign against Troy. Two foreign princesses are residing in the Cretan court: Ilia, daughter of Troy's King
1667:, with John Alexander, Hildegard Behrens, Ileana CotrubaČ™, Luciano Pavarotti, Frederica von Stade and the Chorus and Orchestra of the Metropolitan Opera, conducted by James Levine, Pioneer Artists Laserdisc, PA-85-134, 1986
428:, was the most expert in all Germany. Mozart's widow told a biographer that her husband's time in Munich had been the happiest of his life, and had left him with an abiding affection for the fruit of his labours there.
1486:, with John Alexander, Hildegard Behrens, Ileana CotrubaČ™, Luciano Pavarotti, Frederica von Stade and the Chorus and Orchestra of the Metropolitan Opera, conducted by James Levine, Pioneer Classics DVD, PC-11498D, 2000
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was first heard. Levine's rendition of the opera was thus not entirely sympathetic to its idiom and epoch, but was suitable for a modern production for an audience like the Met's.
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This was a choice that other tenors customarily made too, but at odds with the production's overall philosophy of academic rectitude. In general, James Levine adhered to the
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Mozart's protracted, technically taxing version of "Fuor del mar" for a shorter, easier version of the aria, but he did at least deliver it "with ardour and plangent tone".
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The televising of the Met's 1982 production was supported by the Texaco Philanthropic Foundation, with additional funding from the Charles E. Culpeper Foundation and the
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his throne and that Idamante and Ilia should succeed him. Elettra collapses in rage and despair, and Idomeneo and the Cretans unite in a joyous epithalamion.
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records the evolution of his composition in detail. He effected several major revisions of his early ideas, some occasioned by the disappointing abilities of
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cliché" that created "an aura of suffocating decadence that contradicts the freshness, immediacy, and dramatic brilliance of Mozart's score at every turn".
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aria "Torna la pace", both cut by Mozart, were reinstated, and Idamante's aria "No, la morte" and a lengthy concluding ballet were omitted.
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Paramount Home Video issued it on a pair of VHS video cassettes (catalogue number 2372), with English subtitles and HiFi stereo audio.
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for the sacrifice are interrupted by Arbace bringing the news that Idamante's fight against Poseidon's monster has been successful.
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furious tantrum rigid with catatonia, was almost enough to make one believe that one was witnessing a genuine medical emergency.
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355:. One tradition claims that he was buried there on Mount Cercaphus, while Cretans came to venerate his memory at a grave in
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471:. The making of Deutsche Grammophon's DVD release of the production was supported by the Charles A. Dana Foundation.
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10 (5:04) Recitativo: "Prence, signor, tutta la Grecia oltraggi" (Elettra, Idamante, Arbace, Ilia)
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in the dramatic possibilities that Mozart craved, and which culminated in a happier ending.
627:("Idomeneo, King of Crete, or Ilia and Idamante", K. 366, Munich. 1781) with a libretto by
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too preposterous to describe. At one point Ilia waved her arms about as though in "an old
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18 (3:17) No. 29 Recitativo: "O ciel pietoso!" (Idomeneo, Idamante, Ilia, Arbace, Elettra)
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256:. It was recorded live on 6 November 1982, and telecast live in the United States by the
892:, 1937–2009), Elettra (Electra), Princess of Argos, daughter of Agamemnon, King of Argos
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7 (6:05) No. 21 Quartetto: "Andrò ramingo e solo" (Idamante, Ilia, Idomemeo, Elettra)
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904:(soprano, b. 1939), Ilia, Princess of Troy, daughter of Priamo (Priam), King of Troy
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32 (4:28) No. 16 Terzetto: "Pria di partir, oh Dio!" (Idamante, Elettra, Idomeneo)
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meaningless and trivial graffiti have been scribbled over a great work of art".
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1247:'s suggestion that Mozart had conceived his opera as something closer to French
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paean of thanks to Poseidon as they disembark from the wreckage of their ships.
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11 (4:58) No. 23 Recitativo: "Volgi intorno lo sguardo" (High Priest, Idomeneo)
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flowing, cream-coloured dress that did seem appropriate to the classical era.
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14 (4:06) No. 26 Cavatina con coro: "Accogli, o re del mar" (Idomeneo, Chorus)
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The auditorium of Munich's Residenztheater as it was in the nineteenth century
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8 (0:36) Recitativo: "Sire, alla regia tua" (Arbace, Ilia, Idomeneo, Elettra)
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6 (1:51) Recitativo: "Cieli! Che vedo?" (Idomeneo, Ilia, Idamante, Elettra)
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5 (3:31) No. 20a Duetto: "S'io non moro a questi accenti" (Idamante, Ilia)
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16 (6:24) No. 27 Recitativo: "Padre, mio caro padre" (Idamante, Idomeneo)
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The film and the production from which it derived were also reviewed in
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9 (2:25) No. 3 Coro: "Godiam la pace" (Chorus, two Cretans, two Trojans)
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8 (1:19) Recitativo: "Ecco il misero resto de' troiani" (Ilia, Idamante)
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The film was broadcast live in the United States on 6 November 1982 by
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20 (3:19) No. 30 Recitativo: "Popoli, a voi l'ultima legge" (Idomeneo)
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34 (1:48) Recitativo: "Eccoti in me, barbaro Nume, il reo!" (Idomeneo)
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The opera is set in Sidon, fictitious capital of the Greek island of
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precipitated by Helen's departure from Greece with the Trojan Prince
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4 (3:24) Recitativo: "Principessa, a' tuoi sguardi" (Idamante, Ilia)
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18 (6:01) No. 9 Coro: "Nettuno s'onori, quell nome risuoni" (Chorus)
537:, who has sought sanctuary in Crete after the murder of her mother,
1227:"Torna la pace", numbers which Mozart himself had discarded before
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15 (0:38) Recitativo: "Qual risuona qui intorno" (Idomeneo, Arbace)
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19 (1:57) Recitativo: "Siam soli. Odimi, Arbace" (Idomeneo, Arbace)
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14 (3:33) No. 6 Aria: "Vedrommi intorno l'ombra dolente" (Idomeneo)
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25 (0:46) Recitativo: "Sire, da Arbace intesi" (Elettra, Idomeneo)
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12 (5:22) No. 24 Coro: "Oh, voto tremendo!" (Chorus, High Priest)
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28 (1:06) No. 14 Marcia: "Odo da lunge armonioso suono" (Elettra)
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13 (3:04) Pantomima – recitativo: "Eccoci salvi alfin" (Idomeneo)
266:. It has been released on VHS video cassette, Laserdisc and DVD.
939:(mezzo-soprano, b. 1945), Idamante (Idamantes), son of Idomeneo
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21 (1:12) Recitativo: "Se mai pomposo apparse" (Ilia, Idomeneo)
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In 1780, while the 24-year-old Mozart was in the employment of
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15 (5:36) Recitativo: "Cieli! Che veggo?" (Idomeneo, Idamante)
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that he meets as a sacrifice. That man proves to be Idamante.
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31 (0:32) Recitativo: "Vattene, Idamante" (Idomeeo, Idamante)
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7 (6:53) No. 2 Aria: "Non ho colpa, e mi condanni" (Idamante)
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22 (2:48) No. 31 Coro: "Scenda Amor, scenda imeneo" (Chorus)
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10 (3:51) No. 22 Aria: "Se colà ne' fati è scritto" (Arbace)
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30 (3:40) No. 15 Coro: "Placido è il mar" (Chorus, Elettra)
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23 (1:47) Recitativo: "Qual mi conturba I sensi" (Idomeneo)
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Warren Jones, musical preparation and harpsichord continuo
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Timothy Jenkins (tenor), High Priest of Nettuno (Poseidon)
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6 (2:16) Recitativo: "Radunate I troiani" (Idamante, Ilia)
545:. Idomeneo's son, Idamante, has fallen in love with Ilia.
984:(1932–1988), producer, set designer and costume designer
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11 (3:27) No. 4 Aria: "Tutte nel cor vi sento" (Elettra)
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reviewed the production from which the film derived in
1205:
reviewed the production from which the film derived in
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Alfred Muller, video post-production, Nexus Productions
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David Stivender, chorus master and stage band conductor
933:(tenor, 1935–2007), Idomeneo (Idomeneus), King of Crete
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17 (2:16) No. 28d: "Ha vinto Amore" (Voice of Poseidon)
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27 (4:28) No. 13 Aria: "Idol mio, se ritroso" (Elettra)
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26 (1:36) Recitativo: "Chi mai del mio provò" (Elettra)
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Film of a Metropolitan Opera staging of Mozart's opera
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in the second century BCE, from the collection of the
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19 (3:43) No. 29a Aria: "D'Oreste, d'Aiace" (Elettra)
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2 (5:06) No. 19 Aria: "Zeffiretti lusinghieri" (Ilia)
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33 (1:28) No. 17 Coro: "Qual nuovo terrore!" (Chorus)
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35 (1:49) No. 18 Coro: "Corriamo, fuggiamo" (Chorus)
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12 (1:05) No. 5 Coro: "PietĂ ! Numi, pietĂ !" (Chorus)
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4 (3:34) No. 1 Aria: "Padre, germani, addio!" (Ilia)
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3 (4:19) Recitative: "Quando avran fine omai" (Ilia)
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16 (3:!3) No. 7 Aria: "Il padre adorato" (Idamante)
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5 (0:23) Recitativo: "Ecco Idamante, ahimè!" (Ilia)
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847:21 (3:52) No. 30a Aria: "Torna la pace" (Idomeneo)
733:22 (5:14) No. 11 Aria: "Se il padre perdei" (Ilia)
525:, brought to the island as a prisoner of war, and
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754:29 (0:54) Recitativo: "Sidonie sponde!" (Elettra)
739:24 (5:28) No. 12b Aria: "Fuor del mar" (Idomeneo)
727:20 (5:16) No. 10a Aria: "Se il tuo duol" (Arbace)
443:was premiered in the court theatre of the Munich
990:Ubaldo Gardini, musical preparation and prompter
898:(baritone, b. 1939), voice of Nettuno (Poseidon)
1167:Michael Beier, ASMI II surround sound mastering
787:1 (1:42) Recitativo: "Solitudini amiche" (Ilia)
1164:Christian MĂĽller, video encoding and authoring
549:together in celebrating the coming of peace.
370:, he received a commission from the court of
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793:3 (0:40) Recitativo: "Ei stesso vien" (Ilia)
999:Grischa Asagaroff, assistant stage director
876:, 1923–1990), Arbace, confidant of Idomeneo
631:(1735–1805), after the libretto written by
623:Idomeneo, re di Creta ossia Ilia e Idamante
225:Idomeneo, re di Creta ossia Ilia e Idamante
1591:, Vol. 33, Issues 1–6, 1983, pp. 17 and 85
1243:. Perhaps Ponnelle had been influenced by
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577:National Archaeological Museum of Athens
510:380–370 BCE, from the collection of the
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1005:Lesley Koenig, assistant stage director
603:Deutsche Grammophon DVD chapter listing
214:is a 181-minute television film of the
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1002:David Kneuss, assistant stage director
649:1 (1:41) Opening credits and cast list
319:war between the Greeks and the Trojans
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1155:Burkhard Bartsch, project coordinator
1122:Karen McLaughlin, electronic graphics
1074:Mark Schubin, transmission consultant
1035:Christina Calamari, wardrobe mistress
954:Gildo di Nunzio, stage band conductor
7:
1432:and the Chorus and Orchestra of the
1092:Robert M. Tannenbaum, audio engineer
1182:Merle Kersten, booklet art director
1080:Frank O'Connell, technical director
1047:Michael Bronson, executive producer
1137:Brian Zenone, production assistant
1077:Ralph S. Parisi, senior technician
1026:Arthur Ashenden, properties master
348:, settling near the temple of the
232:and performed by a cast headed by
25:
1095:William Steinberg, video engineer
1029:Nina Lawson, wig and hair stylist
1023:Sander Hacker, master electrician
409:Mozart's correspondence with his
379:the carnival season of 1712: the
18:Idomeneo (Luciano Pavarotti film)
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1337:Broadcast and home media history
1161:Hermann Enkemeier, screen design
1119:Alan Buchner, videotape engineer
1107:Manny Gutierrez, camera operator
1062:Diana Wenman, associate director
1032:Victor Callegari, make-up artist
1014:Stephen R. Berman, stage manager
996:(1943–2017), musical preparation
263:Live from the Metropolitan Opera
1739:Deutsche Grammophon live albums
1134:John Rice, production assistant
1089:Michael Shoskes, audio engineer
1053:Karen Adler, associate producer
1011:Stephen A. Brown, stage manager
987:Gil Wechsler, lighting designer
469:National Endowment For the Arts
317:, he was a major figure in the
1020:Stephen Diaz, master carpenter
1017:William McCourt, stage manager
1:
1588:High Fidelity/Musical America
1571:: "Making a mess of Mozart",
1179:Eva Reisinger, booklet editor
1128:Gerry Crosland, stage manager
1125:Terence Benson, stage manager
1116:Ron Washburn, camera operator
1113:Jake Ostroff, camera operator
1101:Juan Barrera, camera operator
1065:John Leay, engineer-in-charge
1008:Thomas Connell, stage manager
1626:McLellan, Joseph: "Mozart's
1577:, 1 November 1982, pp. 76–78
1131:Tony Marshall, stage manager
1110:Jay Millard, camera operator
1098:Paul C. York, video engineer
1050:Clemente D'Alessio, producer
975:Metropolitan Opera personnel
957:Metropolitan Opera Orchestra
882:(tenor, 1929–2012), a Trojan
1505:(foreword): Mozart, W. A.:
1170:Richard Fairhead, subtitles
1152:Roland Ott, project manager
1104:John Feher, camera operator
945:David Heiss, cello continuo
498:, depicted on a red-figure
439:With Mozart on the podium,
285:, a painting housed in the
258:Public Broadcasting Service
1765:
1515:, Bärenreiter-Verlag, 1972
1173:Paola Simonetti, subtitles
1083:Mel Becker, audio engineer
196:November 6, 1982
1444:DVD, 00440-073-4234, 2006
1158:Johannes MĂĽller, producer
1086:Bill King, audio engineer
948:Metropolitan Opera Chorus
917:(soprano), a Cretan woman
853:23 (5:12) Closing credits
42:
1375:Encyclopaedia Britannica
1146:DVD production personnel
963:(b. 1931), concertmaster
450:Berkshire Music Festival
364:Hieronymus von Colloredo
1630:: saved by the score",
823:13 (1:08) No. 25 Marcia
614:Wolfgang Amadeus Mozart
456:under the direction of
366:, Prince-Archbishop of
252:under the direction of
220:Wolfgang Amadeus Mozart
1734:Classical video albums
1719:1980s classical albums
1605:, Vol. 24, 1983, p. 29
1377:, 1963, Vol. 12, p. 71
1373:Anon: "Idomeneus", in
1295:
1199:
1176:Raymond Law, subtitles
969:(1943–2021), conductor
711:17 (2:01) No. 8 Marcia
579:
514:
436:
390:, which had a text by
290:
1744:Live classical albums
1724:1982 television films
1291:
1195:
567:
482:
434:
277:
1293:Jean-Pierre Ponnelle
1211:on 16 October 1982.
1041:Television personnel
982:Jean-Pierre Ponnelle
629:Giambattista Varesco
400:Giambattista Varesco
340:. Later he moved to
305:and the grandson of
279:Le retour d'Idoménée
230:Jean-Pierre Ponnelle
218:'s first staging of
1633:The Washington Post
1539:(16 October 1982).
1512:Neue Mozart-Ausgabe
1442:Deutsche Grammophon
1430:Frederica von Stade
1330:The Washington Post
1059:(b. 1939), director
937:Frederica von Stade
529:, daughter of King
287:Musée des Augustins
250:Frederica von Stade
117:Frederica von Stade
52:DVD, 00440-073-4234
50:Deutsche Grammophon
1550:The New York Times
1434:Metropolitan Opera
1296:
1241:Académie Française
1208:The New York Times
1200:
1188:Critical reception
580:
541:, by her brother,
515:
437:
422:Vincenzo dal Prato
291:
216:Metropolitan Opera
168:Production company
155:Clemente D'Alessio
144:Executive producer
1636:, 26 January 1983
1541:"Pavarotti sings
1426:Luciano Pavarotti
1418:Hildegard Behrens
1197:Luciano Pavarotti
931:Luciano Pavarotti
924:), a Cretan woman
915:Loretta Di Franco
886:Hildegard Behrens
652:2 (4:34) Overture
641:(Paris, 1712) by
293:In Greek legend,
246:Luciano Pavarotti
238:Hildegard Behrens
207:
206:
131:Original language
123:Country of origin
112:Luciano Pavarotti
102:Hildegard Behrens
16:(Redirected from
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1253:than to Italian
1250:tragédie lyrique
1071:, audio director
920:Batyah Godfrey (
907:James Courtney (
896:Richard J. Clark
635:(1671–1748) for
587:of lamentation.
382:tragédie lyrique
297:was the King of
203:
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178:Original release
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1569:Davis, Peter G.
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1481:
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1422:Ileana CotrubaČ™
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902:Ileana CotrubaČ™
880:Charles Anthony
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633:Antoine Danchet
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486:at the tomb of
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392:Antoine Danchet
283:Jacques Gamelin
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242:Ileana CotrubaČ™
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1617:, Vol. 4, 1983
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1537:Henahan, Donal
1517:
1503:Heartz, Daniel
1488:
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1414:John Alexander
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160:Running time
77:W. A. Mozart
69:
36:
28:
1256:opera seria
1057:Brian Large
911:), a Trojan
415:Anton Raaff
328:The Odyssey
163:181 minutes
87:Brian Large
83:Directed by
1729:1982 films
1713:Categories
1361:References
863:Performers
706:Intermezzo
454:Tanglewood
289:, Toulouse
270:Background
200:1982-11-06
139:Production
1602:Opernwelt
1543:Idomeneo,
1320:Opernwelt
858:Personnel
782:Act three
531:Agamemnon
488:Agamemnon
303:Deucalion
295:Idomeneus
1678:Idomeneo
1665:Idomeneo
1647:Idomeneo
1628:Idomeneo
1574:New York
1507:Idomeneo
1484:Idomeneo
1409:Idomeneo
1281:New York
1265:castrato
1237:Piranesi
1229:Idomeneo
1213:Idomeneo
777:Disc two
638:Idoménée
608:Disc one
569:Poseidon
475:Synopsis
445:Residenz
441:Idomeneo
426:Mannheim
419:castrato
417:and the
404:Idomenée
387:Idoménée
368:Salzburg
346:Anatolia
342:Colophon
338:Calabria
334:Poseidon
311:Pasiphaë
211:Idomeneo
152:Producer
93:Starring
71:Idomeneo
66:Based on
37:Idomeneo
29:Idomeneo
1615:Ovation
1412:, with
1325:Ovation
890:soprano
719:Act two
657:Act one
543:Orestes
527:Elettra
504:Lucania
492:Orestes
484:Electra
357:Knossos
350:Clarian
260:series
198: (
193:Release
183:Network
134:Italian
1689:Portal
1649:(1982)
512:Louvre
500:pelike
496:Hermes
411:father
353:Apollo
172:Unitel
1703:Opera
874:tenor
573:Milos
535:Argos
523:Priam
519:Crete
508:circa
502:from
490:with
323:Paris
307:Minos
299:Crete
61:Opera
58:Genre
1653:IMDb
1327:and
909:bass
494:and
448:the
309:and
248:and
1651:at
1343:PBS
533:of
506:in
452:in
344:in
281:by
187:PBS
75:by
1715::
1559:^
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1691::
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20:)
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