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Opera News
December 28, 1996 The seven stars of Idomeneo are supported by superior performances in even the smallest roles, making star turns of what are usually throwaway parts. MOZART: Idomeneo
There have been several notable recordings of Mozart's early opera seria, but none so star-studded as James Levine's splendid new one. Recalling the Met's famed "Nights of the Seven Stars" (in Les Huguenots) from the last century, the seven of this cast are supported by superior performances in even the smallest roles -- Joyce Guyer, Jane Bunnell, Paul Groves and Yanni Yannissis as Cretan townspeople. Thomas Hampson, venturing into tenor territory as Arbace, Frank Lopardo as the High Priest of Neptune and Bryn Terfel as the oracular Voice make star turns of what are usually throwaway parts. In fact, Hampson's "Se colá ne'fati é scritto" is one of the highlights. The principals are extremely well balanced, perhaps the best ever for an Idomeneo recording. In his moving portrayal of the title role, Plácido Domingo's dramatic power and burnished tones give unprecedented strength and glamour to a role too often the property of tepid "Mozart specialists." Domingo negotiates the florid music with panache and sings an exciting "Fuor del mar" in the alternate Vienna version. As the passionate Idamante, Cecilia Bartoli pays particular attention to dynamics, her soft singing in such an aria as "Non ho colpa, e mi condanni" making as strong an impression as her powerfully fluent coloratura. When she is paired with the limpid-toned Heidi Grant Murphy as Ilia, for example in "S'io non moro a questi accenti," their singing is exquisite. And, simply put, Carol Vaness owns the role of Elettra: no recorded rival matches her edgy virtuosity in "Tutte nel cor vi sento" and "D'Oreste, d'Aiace." Starring right along with the singers are the splendid Met Orchestra and Chorus under Levine in an opera clearly dear to the conductor's heart. From the overture to the concluding Gluckian chorus, "Scenda Amor, scenda Imeneo," Levine is in top form. The only disappointment is the omission of the beautiful ballet music, which should immediately follow the chorus. This ballet is seldom seen in the opera house, for understandable reasons of time. But leaving it out of this recording, especially when the third disc runs only fifty-four minutes, is an opportunity missed. The edition used is apparently based on the original 1781 Munich score, with the exception of the 1786 Vienna "Fuor del mar." DG's digital sound is superb. With no weak links, this Idomeneo is likely to remain unchallenged for a long time. - JAMES CAMNER
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