The costumes are sumptuous and the sets delightful. All the other singers sang with passion and detail - but Frederica von Stade is wonderful as Idamante, as another reviewer has rightly stated. Pavarotti clearly adored the title role and sang with relish, displaying very fine acting too. The mission of the Metropolitan Opera Guild is to enrich people’s lives through a deeper appreciation of opera while supporting The Metropolitan Opera by helping to expand its reach to a wider audience. Pavarotti's Decca recording of Idomeneo in the title role is also worthy of any collection - including the more challenging aria.
If a tenor from the Mozart era attempted to sing the Duke from Rigoletto, the result would be a disaster. A poorly informed critic has said that "he was unsuited to the role and that Mozart didn't like tenors" - both demonstrably untrue: in Mozart's time the "modern" tenor didn't exist, so the roles are not best suited to the late 19th / 20th century voice - rather than the other way around. His voice is entirely suites to the main role of Idomeneo and he sings with nuanced styling, power and delicacy as required. No other tenor has performed the two roles, so Pavarotti's knowledge of the opera is exceptional. This is the second production Luciano Pavarotti performed in Idomeneo, but on the first occasion in 1965 at Glyndebourne, under John Pritchard, he sang a specially transposed role of Idamante - with a thrilling result. A veteran of nearly 400 Met performances, including in seven Mozart roles, tenor Matthew Polenzani headlined a rare revival of the composer’s Idomeneo in 2017.
This Metropolitan Opera Production is splendid all round from the always superb orchestra under the now late James Levine, to a fully engaged cast and orchestra.
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