The work is from the 18th century and the libretto is based on the Homeric struggles. But Mozart's great opera we're talking about,
, acquires "a great relevance" today. His argument immediately leads one to think of major current conflicts such as the war in Syria and refugee crises. And so conceive their next performance at the Teatro Real in Madrid those responsible for their stage direction, Robert
Carsen, of the musical direction, Ivor
Bolton, and the direction of the Coliseum itself, Joan
The play takes place on a Mediterranean island full of war victims, refugees and soldiers played by more than 170 artists
The montage is a co-production of the Royal with the Canadian Opera Company of Toronto, the Teatro dell'Opera di Roma and the Royal Opera of Copenhagen. There will be nine functions, between February 19 and March 1.
The action of the opera moves graphically and scenographically to the present by means of its location on a Mediterranean island full of war victims, refugees and soldiers played by more than 170 artists, including actors and choir members.
'Idomeneo' speaks of the enormous importance that the decisions of a few have for a large majority "
"People are the most important part of that work," Carsen said when presenting the work on Tuesday and justifying the huge number of people who will be on stage. For citizens are the main victims of what is cooked in the family tragedy of Idomeneo. Said in Bolton's words, "the work speaks of the enormous importance that the decisions of a few have for a large majority".
It leaves me astonished to what extent this opera and the Greek plot on which it is based remain valid "
"It leaves me astonished to what extent this opera and the Greek plot on which it is based remain valid," added Matabosch, with an express allusion to the conflict in Syria and "the tragedy in the Mediterranean."
Mozartian opera raises the debate between supporters of peace and defenders of war after the ten years of the Trojan conflict. The struggle is personalized in Idomeneo, king of Crete, his son Idamante and the two suitors of the young man, the Trojan princess Ilia and the Greek princess Elettra.
The painful and tense relationship between Idomeneo and Idamante, as father and son, is often compared to the one Mozart was living with his father. The genius composed most of the piece when, at age 25, he had just left Salzburg and the family home to free himself from the paternal yoke and create more freely. The result is a score as important as "complex and difficult" to interpret, said Matabosch.
The double quartet protagonist is embodied by the tenors Eric Cutler and Jeremy Ovenden as Idomeneo; David Portillo and Anicio Zorzi Giustiniani as Idamante; the sopranos Anett Fritsch and Sabina Puértolas as Ilia, and Eleonora Buratto and Hulkar Sabirova as Elettra.