Mozart: Idomeneo, K. 366- 1781 (Full Opera Score)

0:00- Overture
4:51- ACT I- Recit- Quando avran fine omai (Ilia)
8:42- Padre, germani, addio! (Ilia)
16:44- Non ho colpa (Idamante)
24:30- Chorus- Godiam la Pace
29:43- RECIT- Estinto, è Idomeneo?- Tutte nel cor vi sento (Elettra)
35:08- Chorus- Pietà! Numi, pietà!
36:33- RECIT- Ecco ci salvi alvin. (Idomeneo)
39:38- Vedrommi intorno (Idomeneo)
43:49- RECIT- Cieli! Che veggo? (Idomeneo, Idamante)
50:24- Il padre adorato (Idamante)
53:24- INTERMEZZO- March I
57:36- Chorus- Nettuno s'onori!

1:03:18- ACT II- RECIT- Non più. Tutto ascoltai/Non temer, amato bene (Ilia, Idamante. This, along with the following rondo, are part of the 1786 Vienna production. I thought it would be favorable to include them.)
1:15:58- Se il tuo duol (Arbace)
1:22:19- Se il padre perdei (Ilia)
1:28:38- RECIT- Qual mi conturba i sensi (Idomeneo)
1:31:02- Fuor del mar (Idomeneo)
1:37:36- RECIT- Chi mai del mio provò (Elettra)
1:39:20- Idol mio (Elettra)
1:44:43- March II
1:46:55- Chorus, Elettra- Placido è il mar
1:52:00- Trio- Pria di partir, o Dio! (Idomeneo, Idamante, Elettra)
1:56:53- Chorus- Qual nuevo terrore!
1:58:01- RECIT- Eccoti in me, barbaro Nume! (Idomeneo)
2:01:01- Chorus- Corriamo, fuggiamo

2:02:47- ACT III- RECIT- Solitudini amiche (Ilia)
2:03:48- Zeffiretti, lusinghieri (Ilia)
2:13:50- Duet- S'io non moro (Ilia, Idamante)
2:17:27- RECIT- Cieli, che vedo? (Idomeneo, Elettra, Ilia, Idamante)
2:20:00- Quartet- Andrò ramingo e solo (Idomeneo, Elettra, Ilia, Idamante)
2:29:49- Se colà ne' fatti è scritto (Arbace)
2:38:02- Volgi intorno (Gran Sacerdote, Idomeneo)
2:42:43- Chorus, Gran Sacerdote- O voto tremendo!
2:48:06- March III
2:50:11- Accogli, o rè del mar (Idomeneo, Sacerdoti)
2:55:16- RECIT- Padre, mio caro padre! (Idamante, Idomeneo)
3:02:20- Ha vinto amore (La voce)
3:04:51- O ciel pietoso!/O smania! O furie! (Idomeneo, Ilia, Idamante, Arbace/Elettra sola)
3:06:13-D'Oreste, d'Ajace (Elettra)
3:09:43- RECIT- Popoli! (Idomeneo)
3:16:19- Torna la pace al core (Idomeneo)
3:24:10- Final chorus- Scenda amor!

This can truly be said to be Mozart's "breakthrough" work. While we heard hints of Mozart's new voice as a composer with the E-flat Concerto, the Paris Symphony, and the Posthorn Serenade, they frail in comparison to the lush orchestral majesty and chilling pathos clearly heard in Idomeneo. Mozart must have been extremely excited to be writing an opera for the great Mannheim orchestra. The woodwinds are not just accompaniment, they are crucial for expression. The strings are meant for a large group of players, evidenced by the great harmonies heard in smaller arias such as Idol Mio or Se Cola. It really is Mozart trying to conquer Europe. The work is meant to be spectacular, a more Gluckian tragedie lyrique, and a precursor to the 19th-century French grand opera. Ballet is an important element to the opera, as well as the rousing, great chorus numbers. Hot take: I think the choruses are the greatest Mozart has EVER written, religious music considered. There is unbelievable detail in this opera; every single number is filled to the brim with all the emotion one could imagine could be garnered from the libretto.
But that is just it. Three LONG acts, a ballet, huge chorus numbers... everything about this opera is BIG. The arias are lovely, but they are very long, too long for a modern audience. Alas, much of this could be attributed to the libretto, which rambles on and on, goes on to say too much that could be shortened in only a few words. It was during this time that Mozart began to learn about the beauty and wit of brevity, and he could not do that with such a huge libretto. The outdated Salzburger libretto called for no rondos of any kind, really only da capo arias. But the music... truly riveting in every aspect. This was the farthest the young Mozart could possibly go without the knowledge he would gain in Vienna.
As flawed as this opera is, with its terribly long, static libretto, as inexperienced the young Mozart was in terms of vogue operatic trends, this will remain a complete gem in the operatic repertoire. If the libretto were shorter, then this would definitely be contested as Mozart's greatest opera. There is true pathos and genuine emotion that is expressed vividly and movingly in the score. There are a few opera fans that say that Idomeneo is Mozart's best operatic effort, and their reasons cannot be denied.

Idomeneo- Francisco Araiza
Idamante- Suzanne Mentzer
Ilia- Barbara Hendricks
Elettra- Roberta Alexander
Arbace- Uwe Heilmann
Gran Sacerdote- Werner Hollweg
La Voce- Harry Peeters

Bavarian Radio Symphony Orchestra, Sir Colin Davis (1991)

[rossinimozart]

1:22:54 This is an unique section in Mozart's symphonic music where the horn is playing a solo melody... with alterations?? Reminds me a bit of the third's act allegro from Thamos king of Egypt where the horn play the entire theme, even with the f note, which is already very tricky and risky, and here look what we got! Impressive and insanly rare.

[_Athanos]

The overture is so good, like the whole work is spectacular but I'm obsessed with the harmonies, the wind writing etc in the overture it's so brilliant

[visakos]

2:13:15 is one of the most beautiful melodies ever written

[bambi--]

I can see why Mozart was pleased with this particular opera. It is just lovely.

[enfava]

The soprano who plays the role of Elektra is truly exquisite. Her phrasing is impeccable and her adherence to the original score is surprising. It shows that loud is not always the best...

[ΑΡΙΣΤΕΙΔΗΣ-ρμ]

Από τις καλύτερες όπερες που γράφτηκαν ποτέ αυτή και το ascanio in alba.

[pietrozuffa]

Thank you very very much for this video, I watched it over and over again during the last year, it's a great pleasure for me to have the orchestral score of my favourite opera ever! And the execution is the best available, i love Colin Davis and Araiza

[mk]

So very, very beautiful, my soul sings with pure joy, thanks for sharing!!😃👏🎵👍🙏

[mdrakic]

Amazing opera, thanks for the upload with the full score, that's a heck of a work 👌🏼👏🏼.

For all enthusiasts, I have uploaded the live version with Pavarotti. Have e look.

[horiaganescu]

Gran Sacerdote - Werner Hollweg
La Voce - Harry Peeters
Chor und Symphonieorchester des Bayerischen Rundfunks
John Constable - cembalo
Sir Colin Davis - conductor
1991
PHILIPS

[LookAwaaay]

Thank you for all the work you put into this!

[reltiet]

Two pieces here in E-major, a key Mozart rarely used (as far as I know): 'Placido è il mar' and 'Zeffiretti, lusinghieri' - equally beautiful and both concerning weather elements (a calm sea, 'soave zeffiri', gentle breezes). He also used E-major in other instances where beautiful weather, sweet breezes and/or calm waves play a role: 'O selige Wonne!', the closing terzetto from act 1 of Zaide and of course 'Soave sia il vento' from Cosi fan tutte.

[GoldinDr]

Many sections of Idomeneo (including the final ballet) sound to me more like Gluck than Mozart. Maybe this was his first great success, but he hadn't found his own immortal voice quite yet. It's why I've never loved this opera as much as so many other people do. To think that The Marriage of Figaro came just five years later!

[바르톨로메오크리스토]

곡의 길이가 3시 30 분... 😱
모차르트는 가만히 있는 것 보다 작곡 할 때가 더 편해서
이게 가능할 듯

[amedeomarra]

Wolfgang Amadeus Mozart, è stato un antesignano di Giuseppe Verdi.

[minh]

Why are some parts of the opera so long?

[wolfgangwesterhoff]

ein schwaches Werk mit einzelnen Höhepunkten