The march is heard ever closer as the scene is changed. ELECTRA Blow, gentle breezes only; calm the anger of the icy north wind; be generous with your pleasing breath which spreads love everywhere. Go, and let the clear fame of a thousand heroic deeds herald your return. If you wish to learn the art of ruling begin now by giving help to the unfortunate, and becoming ever more worthy of your father and yourself.
ALL Answer our prayer, o heaven! ALL Farewell! To part!
ALL O may this agitation cease and heaven stretch out a hand in compassion. As they are about to embark, a storm suddenly springs up. What hoarse roaring! The gods' fury has whipped up the sea. Neptune, have mercy! The storm increases, the sea rises: the storm approaches, the sea swells. Thunder and lightning. The ships are struck by lightning. A terrible monster appears from out of the sea.
What is our sin, that heaven rages? Who is the guilty one? I am the guilty one! I alone have sinned; punish me alone and let your wrath fall on me. May my death at last satisfy you; but if you claim another victim in my place, I cannot give you an innocent one, yet if you demand him, you are unjust, and cannot claim him. The storm continues. The frightened Cretans flee and, in the following chorus, express their terror in song and mime, the whole forming a movement suitable to end the act with the usual Divertimento.
Ah, we are already his prey! Treacherous fate, who is crueller than you? How much it costs my afflicted heart to keep silent and pretend, when close to him who conquered it! And you plants and tender flowers which my bitter tears water, tell him that you never saw a love more rare beneath the sky. Shall I remain, or leave, or hide? I am confused! ILIA Die? You, prince? ILIA But what is causing you to seek death?
Ensnared by your chains, your harshness exposes me to new torments. ILIA O prince, calm this melancholy ferment: recall that you are the sole hope of a great empire. ILIA Poor me! Adored princess! ILIA My troubled heart cannot conceal from you my weakness; in my breast too much love and fear are mingled. Or does my hearing only imagine what it longs for? Or does my ardent passion excite my senses so that a sweet dream flatters my oppressed heart?
My soul is overwhelmed with remorse. My sacred duty, my honour, my country, my kinsmen's blood still hot, oh how they reproach the rebellious love in my heart! Now that I see you in deadly danger, my dearest, and only I can save you, hear me, I tell you again: I love you! I adore you! And if you wish to die, grief will already have killed me before you can do so. ILIA No more grief, no more lamenting! I will be constant and true to you; you are my only treasure!
ILIA As you desire me. ILIA Will you be my bridegroom? Ah harsh fate! Why do you fly from me, hate me and shun me? ILIA aside I tremble. IDOMENEO My son, Neptune, incensed against me, has frozen my heart; every tenderness of yours doubles my torment, all your sorrow weighs on my heart, and I cannot look at you without a shudder of horror. But what is my offence? Flee your native shore and seek safe refuge elsewhere. But whither?
O Ilia! O father! ILIA resolutely I desire to follow you, beloved, or to die. ILIA You will have me as a companion in your grief wherever you go, and where you die I too will die. Who, in mercy, will take my life? ALL To suffer more is impossible. Such great grief is worse than death. No one ever suffered a harsher fate or greater punishment, Idamante leaves in sorrow. ILIA aside Prepare yourself, my heart, for some new distress.
ILIA aside Are the people rebelling? He leaves, confused. Ah, you are no longer Sidon, you are the city of tears and this palace that of sorrow! I still hope that some friendly god will be satisfied with so much blood; a single god could save us from all this. Severity would yield to clemency … But as yet I do not know who would look on us with pity … Ah, heaven is deaf! I see all Crete ending her glory deep in ruins! No, ere this her miseries will not be ended! Idomeneo, accompanied by Arbace and the royal retinue, enters and sits down on a throne reserved for public audiences. High Priest and a large crowd of people.
Behold the pools of blood in the public streets! At every step you will see someone groaning, giving up the ghost from a body swollen with black poison.
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Thousands upon thousands lie dead and buried in that immense and hideous belly whom I myself saw perish. That maw is foul with blood and ever greedy. On you alone depends our fate; only you can save from death the rest of your people, who cry out in despair and implore your help; yet you still hesitate? Sire, to the temple! Who is the victim, and where is he? Render unto Neptune that which is his Holy priest, and my people, listen: the victim is Idamante, now you shall see, o gods, with what bearing a father slays his own son.
He goes off agitated No. Dreadful sight! Death now reigns, and opens wide the gates of the fearful abyss. The son is innocent and the vow inhuman; stay the hand of this pious father. Everyone leaves in sorrow. The forecourt and the galleries of the temple are filled with a crowd of people. The priests are preparing the sacrifice. Enter Idomeneo, accompanied by a large and splendid retinue. Accept the heartfelt repentance of your devotees, and grant us your favour.
Eternal is your glory! Triumph, o lord! He threw himself furiously upon the savage monster, overcame it and killed it.
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We are saved at last. Neptune will be moved to new fury against us Now, Arbace, to your sorrow you will see that Idamante found what he was seeking, and he himself will be death's booty. O gods! A mass of dejected people, and the previous. Oh sweet name! Behold me at your feet! In this last fatal moment.
Before your hand must strike the blow that empties your blood from my veins, accept a last kiss. Now I realise that your agitation arose not from anger but from paternal love. A thousand times fortunate is Idamante if he who gave him life takes life from him, and taking it, offers it to heaven, that in exchange heaven may ensure his own and he obtain lasting peace for his people and the sacred and true love of the gods.
My dear son! Forgive me: this dreadful task is not my choice, but ordained by fate Ah no, I cannot raise the brutal axe against my innocent son; strength fades from every fibre of my being, and dark night clouds my eyes O my son! Do not let useless pity stop you, nor the vain fondness of love beguile you. Let the blow fall that will relieve both of us from our distress.
But why delay further? I am ready; make the sacrifice, fulfil the vow. Now I am resolved What are you doing? ILIA In vain that axe seeks to wound another's breast. Here is mine, sire; I am your victim. A willing victim is always more pleasing to the gods. ILIA I offer my blood. ILIA I am the appointed one My duty calls!
ILIA My gratitude is great, but my love reprieves you. Neptune, here is my blood! She runs to the altar and is about to kneel. Now, holy priest … She kneels before the High Priest. A loud noise is heard underground,. A deep and solemn voice makes the following pronouncement from heaven. Idomeneo shall cease to reign; Idamante shall be king, and Ilia his bride Then will Neptune be appeased, heaven contended and innocence rewarded.
ILIA Idamante, did you hear? What love, ye gods! Ye furies Despairing Electra. Must I see Idamante in my rival's arms? Ah no, let me follow my brother Orestes into the hollow abyss. Now you will have me for companion in Hades, in eternal woe, in endless lamenting.
Tear out my heart, you horned serpents, or a sword shall end my pain. Idomeneo gives you his last command as king. I announce peace. The sacrifice is completed, my vow redeemed. Neptune and all the gods smile upon this kingdom. One thing remains, that Idomeneo now obey their demand. O mighty gods, how I welcome your command!
Here is another king for you, my other self. To Idamante my son, my dear son, I relinquish the throne of Crete together with all sovereign power. Respect his commands, and follow them obediently, as you have followed and respected mine, for which I am grateful to you!
Campra Idoménée | revolexituju.tk
That the potential sacrifice turns out to be the king's own son, Idamante, becomes the central conflict of the drama. Idomeneo is often incorrectly termed an opera seria, a static, outmoded form which by Mozart 's time had undergone considerable transformation at the hands of Jommelli and others. Although it retains certain elements of the style da capo arias, for example Idomeneo's extensive use of the chorus, flexibility, and strong sense of action betrays a strong sense of the libretto's French origins; this observation is underlined by the inclusion of tableaux of the kind that appear in the operas of Rameau and Gluck.
The opera concludes with an extensive ballet, an essential component of all French opera, but then only recently introduced to Italian opera by reformers such as Traetta. One of the great glories of the work is the orchestration. Mozart obviously relished writing for the large and outstanding orchestra attached to the Elector's court, many of whose members had formerly belonged to the Mannheim orchestra, the finest in Europe. The score he produced includes pairs of flutes, oboes, clarinets, and bassoons along with four horns, two trumpets, three trombones, and strings; it is the richest of all his operatic scores, and it drew contemporary criticism for being "too much filled up with accompaniments.
Dramatically, too, Idomeneo shows a marked advance on the traditional opere serie Mozart had composed in Italy less than a decade before. That he had now become a complete man of the theater is shown in a remarkable correspondence with Varesco, who remained in Salzburg after Mozart had gone to Munich to work with the singers. The letters show Mozart not only tailoring the arias to the needs of his singers, as was customary, but also acutely aware of what would and would not work dramatically.
Idomenee Tragedie by Danchet Antoine
Idomeneo was given its first performance at the Residenz Theater on January 29, ; the spectacular staging was particularly praised in the sole contemporary account that was preserved. The opera was not taken up elsewhere, doubtless in part due the demanding orchestral writing, but also because its mixture of Italian and French styles was confusing to contemporary expectations. Mozart did adapt and revive the opera in Vienna in , but Idomeneo has had to wait until the twentieth century to be fully accepted into the repertory.
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