Where Wolfgang Amadeus Mozart’s K. 366 opera Idomeneo is concerned, the first thought that comes to mind is Rodney Dangerfield. He is best known for the catchphrase “I don't get no respect!” So it was when, in my undergraduate years, I attended a seminar in the operas of Wolfgang Amadeus Mozart. Over the course of the semester, we took deep dives into the “big five” operas: Die Entführung aus dem Serail (the abduction from the seraglio, K. 384), Le nozze di Figaro (the marriage of Figaro, K. 492), Don Giovanni (K. 527), Così fan tutte (women are like that, K. 588), and Die Zauberflöte (the magic flute, K. 620). During our first session, the professor made a passing reference to K. 366, saying nothing about it other than its title.
Since that time, I have enjoyed a generous number of opportunities to compensate for that negligence. They include the historic recording of excerpts from a 1951 performance at Glyndebourne included in the Warner Classics Fritz Busch at Glyndebourne release and, more recently, a live-stream performance from Opera San José in April of 2020. However, San Francisco Opera (SFO) has not performed K. 366 since October of 2008, when Donald Runnicles conducted the revival of a staging by John Copley.
Mind you, the libretto by Giambattista Varesco is certainly not up there with the imaginative wit and narrative skills of Lorenzo Da Ponte. It is set on the island of Crete, where Idomeneo is king. His son, Prince Idamante, is in love with Ilia, daughter of King Priam, who was just defeated in the Trojan War. Both Trojans and Cretans welcome the return of peace; but that peace is disrupted by Electra, daughter of the Greek King Agamemnon. She has designs on preventing Ilia from becoming the Queen of Crete. Meanwhile, Idomeneo has survived a violent storm; through the grace of Neptune (god of the sea), he is washed up on a beach in Crete. As thanks to Neptune, he vows to sacrifice the first living creature he encounters. As fate would have it, that “creature” is Idamante. Nevertheless, over the course of three acts, these complications are resolved; and Idomeneo passes his crown to Idamante, who will rule with his bride Ilia.
Next month’s performance will be staged by Lindy Hume, who will be making her SFO debut. The production itself has already been performed by Opera Australia and Victorian Opera. Music Director Eun Sun Kim will conduct. The title role will be sung by tenor Matthew Polenzani, mezzo Daniela Mack will sing the role of Idamante, Ilia will be sung by soprano Ying Fang, and the role of Elektra will be taken by soprano Elza van den Heever.
As usual, a generous amount of background information will be available through the home page for this production. This Web page also includes hyperlinks for purchasing tickets for the 7:30 p.m. performances on June 14, 17, 20, and 25 and the 2 p.m. matinee on June 22. However, as of this writing, there is only limited availability for the matinee tickets. However, there will also be a livestream available at 7:30 p.m. on June 20, with on-demand streaming beginning at 10 a.m. on June 23 and running through 10 a.m. on June 25. Further information is available from the Box Office, which is open on Monday from 10 a.m. to 5 p.m., on Tuesday through Saturday from 10 a.m. to 6 p.m. It located at the entrance to the San Francisco Opera House at 301 Van Ness Avenue, and it can be reached by calling 415-864-3330. On the date of each performance, the Box Office will be open through the first intermission.
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