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Review:
Mozart wrote Idomeneo in Munich during 1780-1, with the heroic role of Idamantes as a soprano castrato. He later expressed the intention of revising it, "more in the French manner", with a tenor Idamantes (the French did not countenance castratos) and with Idomeneus played by a bass. But the closest he got to doing that—since the opera was never staged again in his lifetime—was to organize a concert performance, mainly by amateurs, in Vienna in 1786; there, it seems, Idamantes was sung by a tenor, but we do not know much else about that performance except, probably, that the minor role of Arbaces was I have greatly enjoyed the way Bohm plays it. He may be an octogenarian, but he directs the opera for the most part with a spirit and an urgency that many a young man might envy. Most of the accompanied recitatives are alert and fiery, and in this particular work they carry a great deal of the emotional weight. Mozart's orchestral writing is often unusually complex, and here every strand of it can be heard without any feeling of unnatural perspectives. Performer: Wieslaw Ochman, Edith Mathis, Julia Varády, Peter Schreier |
flac, booklet |
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