For Who Desiring the Crown, A Resolution Based on Honor, Compassion and Love
“Saved from the sea, I have a raging sea,” sung by the King of Crete (Idomeneo) in the greatest aria “Fuor del mar”, captures the central theme of the opera Idomeneo as it expresses the guilt and inner conflict of the emotionally tormented king after promising in an oath to sacrifice the first person he sees to the sea god (Neptune) in exchange for surviving a shipwreck, and that first person he sees turns out to be his son (Idamante). “Stern god! Tell me at least, if my body was so close to shipwreck, for what cruel purpose was that wreck withheld?” The aria vividly portrays the opera’s epics themes, the struggle between personal duty and divine will and the burden of leadership and sacrifice, via a father’s deepest anguish caught between love and fate.
Idomeneo is a prime example of Opera Seria, an opera genre prominent from 17 th to the early 19 th centuries, showcases virtuosic singing and presents historic or mythologic themes within a distinct and structured narrative musical framework. Considered the first mature opera in Mozart’s career which premiered in 1781, just two days after his 25 th birthday, Idomeneo is the turning point masterpiece for the very young genius to emerge as a brilliant artist for the stage with its original orchestration, thematic complexity and dramatic intensity.
SF Opera presented Idomeneo four times in its previous history with the company premiere in 1977, then once a decade ever after in 1989, 1999 and 2008. After 16 years of absence from its stage, director Lindy Hume brings this production to San Francisco which was first staged by Opera Australia in Melbourne in 2023 and marks her SF Opera debut.
This production balances the ancient mythic themes with the modern staging and costume. The story is transferred from the Bronze Age and the Trojan War to the present time with refugees in street clothes, worshipers in black suits and dresses and soldiers in camouflage uniform. King Idomeneo (Matthew Polenzani) wears feathered cape, Princesses Ilia (Ying Fang) and Elettra (Elza van den Heever) stand out in pink coat and purple dress respectively and Prince Idamante (Daniela Mack) switches from grey suits to camouflage. The set has three blank walls with two ornate doors while the acts change by the filmed scenes of Tasmanian coastlines and landscapes which symbolize the Island of Crete with flying seagulls soaring over ragged coastlines and inky storms rolling over sky, as well as ocean waves and deep woods. The stage culminates in bloody red flash when Elettra storms out the door raging with a dagger in hand after she loses Idamante to her love rival Ilia.
Eun Sun Kim is SF Opera’s third music director to lead the orchestra for Idomeneo and she does not disappoint with Mozart’s luminous scores. The star-studded cast includes American tenor Polenzani who has won many accolades for the title role; Van den Heever, one of today’s leading dramatic sopranos, is statuesque, regal and dominant on stage, returning to War Memorial where she started as a young artist in the training program; Fang, the Chinese soprano who has made a name in the Mozart operas worldwide, marks her SF debut.
SF Opera’s Idomeneo ends with chorus members holding eucalyptus branches symbolizing peace and hope after King Idomeneo relinquishes his crown to his son Idamante who weds Trojan princess Ilia and achieves the god Neptune’s forgiveness therefore resolving conflicts. A timeless tale of sacrifice and redemption, a leader’s courage to act with moral autonomy transcends the symbolic opera seria into
centuries thereafter. What a lesson that resonates today more than ever: for who that desires the crown, a resolution is achieved based on honor, compassion and love. Running through June 25, War Memorial Opera House, San Francisco.