The metropolitan opera idomeneo11/14/2022 ![]() ![]() The soprano Nadine Sierra brought her bright, agile voice to the role, singing with expressivity and tenderness. Ilia has fallen in love with her captor, Idamante, Idomeneo’s son and heir. The overture segues into a solo scene for Ilia, a Trojan princess who is now a prisoner on the island of Crete, where Idomeneo, who has been off fighting in the Trojan wars, is king. But the music-making never sounded forced or overly emphatic. Now and then on Monday, there were moments of imprecision and slight glitches. ![]() So far this season, he has conducted acclaimed runs of Rossini’s “L’Italiana in Algeri” and Verdi’s “Nabucco.” This “Idomeneo” is especially fine, an authoritative and nobly moving performance. Now, as director emeritus, he can conserve his energy and focus on select projects. Levine’s outstanding work must result partly from his wise decision to step down as the Met’s music director at the end of last season, because of his continuing health problems. All in all, this revival is a high point of the season. Levine conducted, drawing a refined and affecting performance from the great Met orchestra and chorus and an impressive cast, especially the tenor Matthew Polenzani as Idomeneo. On Monday that 35-year-old production, which still looks fresh and beautiful, returned to the Met for the first time since 2006. The stellar cast included Luciano Pavarotti in the title role. The director and designer Jean-Pierre Ponnelle created a stylish production. James Levine was the prime mover behind the Metropolitan Opera’s first production of Mozart’s “Idomeneo,” in 1982. ![]()
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