Wolfgang Amadeus Mozart

Idomeneo

Mar 6 - Mar 25 Buy Tickets from $25

Mozart’s first operatic masterpiece returns to the Met in the classic Jean-Pierre Ponnelle production, conducted by Music Director Emeritus James Levine. The superb ensemble includes Matthew Polenzani as the king torn by a rash vow; mezzo-soprano Alice Coote in the trouser role of his noble son Idamante; soprano Nadine Sierra as Ilia; and soprano Elza van den Heever as the volatile Elettra, who loves Idamante to the bounds of madness.

Read Synopsis
  • Sung In
  • Italian
  • Met Titles In
  • English
  • German
  • Italian
  • Spanish
  • Estimated Run Time
  • 3 hrs 58 mins
  • House Opens
  • Act I 57 mins
  • Intermission 35 mins
  • Act II 46 mins
  • Intermission 35 mins
  • Act III 65 mins
  • Opera Ends
Mar 6 - Mar 25 Buy Tickets from $25

Cast

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Premiere: Court Theater (now the Cuvilliés Theater), Munich, 1781. Like many stories from Greek myth, Idomeneo explores the motivations and emotions of humans whose fates seem beyond their own control. The opera casts these issues within the framework of the opera seria genre, a stylized format popular in the 18th century that is characterized by a succession of arias and recitatives and a cast of noble characters. Long neglected along with other works of this era, Idomeneo now holds a firm place in the repertoire as the first of Mozart’s operatic masterpieces.

Creators

Wolfgang Amadeus Mozart (1756–1791) was the son of a Salzburg court musician who exhibited him as a musical prodigy throughout Europe. His achievements in opera, in terms of beauty, vocal challenge, and dramatic insight, remain unsurpassed. Giovanni Battista Varesco (1735–1805) was a poet and the court chaplain of the Principality of Salzburg, Mozart’s place of employment at the time of Idomeneo.

Production Jean-Pierre Ponnelle

Set Designer Jean-Pierre Ponnelle

Costume Designer Jean-Pierre Ponnelle

Lighting Designer Gil Wechsler

Stage Director David Kneuss

Wolfgang Amadeus Mozart

Composer

Wolfgang Amadeus Mozart

Setting

The opera is set on the island of Crete in the aftermath of the Trojan War. The tales of this time have provided fertile grounds for creators of opera, from Monteverdi (Il Ritorno d’Ulisse in Patria, 1640) to Berlioz (Les Troyens, 1863), to Richard Strauss (Die Ägyptische Helena, 1928), to Martin David Levy (Mourning Becomes Electra, 1967). The era is evocative, reflecting the confusion of a post-traumatic historical moment.