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May 12, 2006
May 15, 2006: A Number of Choices To Be Made...
In Mozart and Varesco's Idomeneo of 1781 there are a number of choices to be made regarding cuts and alternate versions of musical and dramatic material. It seemed that one of the interesting things to do in approaching these choices was to go back and look at the opera's precedent - the version by Campra and Danchet from 1712. It also made sense to look at the circumstances surrounding Mozart's and Varesco's own composition. What turned out to be striking was that the Campra — Danchet was a more integrated drama, and that Mozart struggled with different ways of how best to present his own rather unwieldy third act, the act in which he and Varesco deviated the most from the earlier operatic version.
The Campra-Danchet is a true tragedy, in which Idomeneo kills his son Idamante, whereas Mozart and Varesco created an ending in which the horrible sacrifice is avoided. Similarly, jealousy permeates the earlier version, and the vengeful character of Elettra is supported by the plot, whereas Mozart's happy ending leaves her the odd woman out. These changes in the libretto seemed to offer Mozart dramatic and musical challenges which in some cases he responded to with one solution and then another. Practical and political considerations affected the drama too. It's weakened, for instance, by his accommodating a request to provide a significant role for a favorite singer at the Munich court - the tenor who was to play the character of Arbace, the king's confidant. The two arias which Mozart provided for Arbace are unconvincing and do not advance the story, though an accompanied recitative written for him describing the horrible fate of Crete is wonderfully gripping.
Shortly before the premiere on January 29 1781, Mozart apparently realized that that he had more material than was good for the progress of the drama. He then made several cuts, being ruthless with his own music in a way that we would rarely dare to be today, as practically every note he wrote seems a treasure. But it made sense to revisit Mozart's choices and imagine what effect they have on our experience of the opera. Should we keep Idomeneo's long final aria, or move straight from his recitative to the chorus and ballet, as Mozart decided to do for premiere? Do we retain Elettra's dramatic final aria, or choose the alternate accompanied recitative Mozart wrote, which solves several dramatic problems? Do we cut one of Arbace's arias, as Mozart did, and if so, why not his other aria as well? What about the gorgeous middle sections of the third act choruses Mozart deleted — do they advance or hinder the plot? Generally, we chose to follow Mozart's own inclinations in 1781, trying to keep the drama as focused as possible, though it meant cutting many wonderful pieces modern productions have reinserted. On the other hand, however, we chose to perform (with dance) the beautiful Passepied and Gavotte in the divertissement at the end of the first act, which are rarely heard in modern productions.
Most decisions about cuts had to come before vocal soloists were contracted, as no one wants to be hired and then afterwards told one of their favorite parts has been scrapped! Putting together the right singers and orchestra came next.
Posted by at May 12, 2006 02:50 PM