René Jacobs' immersion in Mozart's operas will go down in music history as a reference point. 

After having presented the Da Ponte Trilogy and The Magic Flute in Barcelona , ​​it is now the turn of another of the composer's masterpieces, Idomeneo . Premiered in Munich in 1781, from the same adapted libretto that André Campra would use in his Idoménée, tragédie lyrique of 1712, Mozart wrote it when he was twenty-five years old and was performing his third serious opera, after Lucio Silla and Il Re pastore. 

With a precocious dramatic talent, Mozart assimilated a revolutionary style from Haydn, extracting some lessons about the comic and dramatic nature and adapting it to his own language, which implies an absolute modernization of the genre. Thus, Idomeneo , an extraordinary score, represents an important challenge for the composer when it comes to fusing a new hybrid model (the flexibility of French tragedy with the lyricism of Italian opera).

The protagonists of the plot are the children of the heroes of the Iliad, the Greek epic poem that tells of the war between Greeks and Trojans that ended with the destruction of Troy. Thus, Idamante has enormous dramatic weight, Ilia a gentler character, Elettra is expressive in her archetypal madness, while Idomeneo, in his nobiltà, will calmly renounce his throne to announce peace, while Neptune grants forgiveness, which was so much to the taste of the enlightened. Jacobs, who always puts emphasis on the choice of voices, achieves a bouquet that is always hypnotic, charming and surprising to explore all the nuances of characters who are vulnerable in their intimacy.

 The Belgian maestro, who heads the Freiburg Barockorchester, will offer us the most profound, thoughtful and human interpretation ever heard, where he will energetically explain and fantasize his plot about a king's fiancée to the god Neptune to sacrifice the first person he sees if they get home safely; in fact he questions the entire concept of religion: "Love is worth more than a promise made in fear," says Jacobs. 

While in its time this Idomeno was criticized as the latest metamorphosis of an obsolete genre, Mozart left us a work of true creative fury. 

René Jacobs, a true specialist in this repertoire, restores the necessary vigour to interpret this illuminating score.

Ian Koziara will sing the title role.