History on a blank canvas

By WILLIAM DART

Mozart's Idomeneo may not rank up there with Cosi, Giovanni and Figaro in the Mozart canon when it comes to popularity but it also doesn't need the apologies so often made for it.

Written in 1780-81, it was the first of the composer's operatic masterpieces and a work that, to some, has the misfortune to have been written in the archaic opera seria style.

Patrice Wilson, who is directing the upcoming Concert Chamber production of Idomeneo, concedes "it's not the most vital story in the world" but quickly counters by enthusing about "its fascinating underbelly. It's as if someone has taken a mixture of Christian and Greek mythology and sprinkled it all over the work".

Frances Wilson, one of New Zealand's leading vocal coaches and founder of Auckland Opera Studio, is the self-described catalyst behind the Auckland staging, working in harness with Peter Scholes and his Auckland Chamber Orchestra. She gives a multitude of reasons as to why this is a must-see event.

Simon O'Neill is, quite simply, going to give the definitive performance. "He's done it twice in New York and there's not a phrase or a word he doesn't love," says Wilson.

Add to this, the 2002 Mobil Song Quest winner Anna Leese who is perfect for the role of Ilia. "Anna has all the intelligent serenity of the character, as well as the colour of the voice," says Wilson. "She's almost typecast."

If it's all sounding too noble to be true, there is also Sarah-Jane Rennie playing Elettra, "the only character in the opera who's not full of love and goodness", Wilson says. "She's got that slight coloratura thing to her voice, which gives extra brilliance for this crazy, crazy, crazy part."

Leese, who has returned from London to take up her first full operatic role, sees Ilia as very much a modern woman. "Ilia is very strong and knows what she wants from the beginning. She does the best thing for her people; she doesn't follow her heart like every other heroine does."

A few weeks ago, the young soprano carried off two major prizes at the Royal Overseas League singing Puccini, Strauss, Debussy, Donizetti and Britten, and she is enjoying a return to Mozart. "It feels like going back to the core of it, where it all began."

American-based New Zealander Wilson is following the tradition established by Auckland Chamber Orchestra, with its previous performances of La Clemenza di Tito and Orfeo ed Euridice and aiming at maximum effect from minimal production.

"I am staging it simply on a white canvas, a pure white canvas on which the individuals play out their histories and turn them into their destinies," she explains.

"The story itself is still relevant. We're still in the same processes that we were [in] thousands of years ago, moved by the forces of the cosmos, practising a type of inner observation, scrutinising our intentions and trying to find the best way around."

Not so minimal - there will be a fair bit of physical action with the Mau Dance Company taking part. In terms of the singers, Wilson says, "I don't mind people being static as long as there's an inner movement. That's another aspect of the physical challenge of opera. There are some physically bold moments in the production and quite a few surprises. It's certainly not a traditional way of tackling opera."

So, if you were dismayed by the silliness of Brad Pitt in Troy, why not come along and hear Mozart's tale of another valiant Trojan War vet? There may not be tunics and digital FX, but the music is something else.

Performance

* What: Idomeneo

* Where and when: Auckland Town Hall Concert Chamber; Thursday 7pm, Friday 8pm