R. Serpa Pinto 9, Lisbon, 1200 442, Portugal
Dates and Times:
Saturday 10th March 2018 at 20:00;
Monday 12th March 2018 at 20:00;
Wednesday 14th March 2018 at 20:00;
Friday 16th March 2018 at 20:00;
Sunday 18th March 2018 at 16:00.
Like so many other stories of Greek mythology, Idomeneo, king of Crete, explores the motives and emotions of humans whose destinies seem to transcend them. The still hot ashes of the Trojan War were fertile ground for opera creators: from Monteverdi Il Ritorno di Ulisse in Patria, 1640, to Berlioz Les Troyens , 1863), to Richard Strauss Die Ägyptische Helena , 1928 and Mavin David Levy Mourning Becomes Elektra , 1967 , all created word and music evocative of the post-traumatic confusion of this troubled historical episode. As a result of an order in 1780 of the Elector of Bavaria, it is in Idomeneothat Mozart reaches his creative apogee, transfiguring the formulas of the opera, in which, as a teenager, he had practiced in Milan with Mitridate, Re di Ponto and Lucio Silla . Power, adversity and passion expressed them Mozart in finally instrumented recitatives where, in the moving beauty and purity of the arias, a marked Gluckian influence is detected. Neglected like so many other operas of this period, Idomeneoensures today a firm place in the lyrical repertoire as one of the first masterpieces of the genius Mozart. The debut in San Carlos of the visionary director Yaron Lifschitz, the voices of Ana Quintans, the Moorish tenor Richard Croft and the musical direction of Joana Carneiro are bets that will ensure the success of this new production.