SF Opera's Idomeneo

* Notes *
The new production of Idomeneo (Matthew Polenzani in the title role pictured, photograph by Cory Weaver) at San Francisco Opera is effective and engaging. The cast is very solid and the orchestra sounded utterly clear and beautiful under Music Director Eun Sun Kim.

The 2023 production comes from Opera Australia and is directed by Lindy Hume. Set in contemporary times, the scenery features three walls enclosing a revolving platform and projections of the Tasmanian coast and forest. The opening scene shows seagulls flying around, and the videos switch up the scenes with ease without getting in the way of the music. Anna Cordingley's costumes favor black, very sleek and elegant, but Ilia has a pink trench coat to start and Elettra wears a dramatic purple gown that is offset by an elaborate gold headpiece and collar in Act II.

Maestra Kim's conducting is ideal for the music of Mozart. The lines are perfectly clear, all the orchestral voices are audible. It's a beautiful, transparent sound. The playing was together and never was overwhelming. The chorus too was cohesive and powerful without detracting from the principals. The end of Act III was particularly beautiful, the mercy of the Neptune feels apparent in the music.

The cast, with one exception, is strong. Even the small roles filled by bass-baritone Jongwon Han (Voice of Oracle) and tenor Samuel White (High Priest of Neptune) were sung with verve. Tenor Alek Shrader reprised Arbace, which he sang from the War Memorial stage in 2008. His voice has certainly darkened in that time, but seems more suited to the character.

Mezzo-soprano Daniela Mack (Idamante) clearly was having a bad night, and before Act III General Director Matthew Shilvock announced from the stage that she was indisposed but was graciously agreeing to continue singing. Mack's voice sounded muted and thin, her vibrato exceedingly wide. Hopefully she recovers soon.

Soprano Elza van den Heever (pictured with Ying Fang, photograph by Cory Weaver) is impressive as the witchy Elettra. Her icy voice has heft and drama without being shrill. She sang her Act II aria "Idol mio" with tenderness and her "D'Oreste, d'Ajace ho in seno i tormenti" in Act III was quite terrifying. Soprano Ying Fang (Ilia) had a spectacular San Francisco Opera debut. From the very beginning, her pure, resonant sound was secure and lovely. "Se il padre perdei" in Act II was the highlight of the evening, Fang's pianissimo cuts through the orchestra with ease.

In the title role tenor Matthew Polenzani is solid. His voice is reliable, it has a good brightness and weight. He is able to emote through both his sound and his body, and he is convincing as Idomeneo. His "Fuor del mar" in Act II was filled with anguish and "Accogli, oh re del mar" with the chorus in the last act had such a calm and plaintiveness.

* Tattling * 
There was so much beeping from some sort of medical device on the orchestra level both in Acts I and III. My companion said it was from a wheelchair, I had thought maybe it was a glucose monitor. A cellular phone was also heard, perhaps in the first rows of the orchestra level during Act III, just before Elettra's aria.

There was noticeable audience attrition after each act. I found it a bit dumbfounding as the performance fully held my attention, and I intend to hear it again as many times as I can manage. I was in tears for much of Acts II and III.