IDOMENEO at the Rome Opera House – Review by William Fratti – Blady and merger between Michele Mariotti and Robert Carsen –
Recitation of November 10th –
Cohesion, compactness and overall estate are the dominant characters of this difficult show, which can totally succeed in its purpose: to involve, excite, deliver a message, induce to think. And to do all this, you need that effectiveness and merger that Michele Mariotti and Robert Carsen have found among them and know how to transmit to the entire stage first and then to all the public.
Unfortunately it is increasingly rare to find such an agreement, both for personal and subjective reasons, but also for poor availability of resources. So when it happens, the magic of the work theater occurs in all its splendor.
Michele Mariotti – that for this occasion opts for the Vienna version, without the arias of Arbace, with the reinstatement of “Fuor del Mar” and tenor voice in the part of the Idamante – He returns to the difficult score of Idomeneo making a amazing prodigy of style, elegant in the overall estate, full of colors and accents, prodigal of refined but also dramatic phrasing. His vision of the score is so amalgamated to the poetic realism of Carsen that it is impossible not to be moved. Accomplices also orchestra and choir – prepared by the talented Roberto Gabbiani – of the theater of the Opera di Roma which, supported by a certain purity of sound and singing, follow direction and direction with a fluidity that totally involves.
The expert Charles Workman brings an excellent idiomeian, with a clear and bright vocality, which finds its interpretative peak in the wonderful “Fuor del Mar”.
This was accompanied by the excellent idamant of Joel Prieto, which excels in the most delicate pages, while you can see a certain weakness in the low notes where greater accent is needed, as in the famous third -act quartet.
Pure very good Rosa Feola in the role of Ilia, with a truly surprising musicality, always homogeneous in every single step, enriched with refined grace.
The test of Miah Persson is also very good as the inlet Elettra, which shows off its elegant style especially in “Idol Mio” And in the pieces of together, while a little lack of in the low notes in the most dramatic arias appears.
The art of Alessandro Luciano and the great priest of Oliver Johnston is rather effective. The voice of the young Andrii Ganchuck is very positively positive.
Returning to Robert Carsen's beautiful show – who also deals with the scenes with the costume designer Luis F. Carvalho and the lights with Peter Van Praet – It makes use of the expressive choreographic movements of Marco Berriel and the suggestive video of Will Duke. The transposition into contemporary sphere contributes to a greater surrender of the meanings of the work: the eternal problem – timeless – of wars, refugees, non to lose. And the final embrace of Ilia and Idamante is a moving light of hope. Carsen always stands out for the elegant style, with clear messages, but always respectful, with poetic shades with a strong theatrical effect although imbued with important realism. But above all it affects his constant adherence to the text and music. It is excellent from every point of view.
Throngy applause and ovations greeted all the artists.
William Fratti
Photos © Yasuko Kageyama-Teatro of the Rome Opera