Palermo, Teatro Massimo – Idomeneo

Daniel Cohen
Connessi all'Opera

It is an auspicious time, that of the Palermo premiere. The first reason for interest comes from the engine of the entire operation: it comes from the pit, its name is Daniel Cohen and he turns out to be a seasoned, extremely sensitive, persuasive interpreter of Mozart. He does not try, appropriately, to reconstruct old-fashioned sounds: it would make no sense with a modern orchestra, moreover admittedly, an orchestra used to a very different repertoire. But this does not prevent him from spinning the sound, from elaborating a texture that, perhaps less clear in the strings, is sculpted, sharp and darting, by wind, brass and percussion. What emurges is a pure and rough, energetic and gritty Idomeneo: in a word: tragic  -  and for this reason of amazing, disruptive theatricality, not only in the arias but also, and perhaps above all, in recitatives, both dry and accompanied, in which is unearthed the sense of the words, rekindling intimate impulses, pulsations and vibrations.
Read the full review here (translation)