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Bill White
Fanfare, January 2013

The Bavarian State Orchestra…is a world-class opera ensemble, which plays the wonderful Mozart score with practiced expertise under the leadership of world-class conductor Kent Nagano. The State Opera Chorus also makes a joyful noise in this work, in which it features so prominently. Singing is ably led by British tenor John Mark Ainsley in the title role. No Pavarotti in timbre, Ainsley nevertheless has a fine voice and can do much more on stage than his famous Italian predecessor…sweet-voiced young Mozartian tenor Pavol Breslik is equally fine as the son, Idamante…and both Arbace’s arias are handled more than competently by tenor Rainer Trost. Annette Dasch provides just the necessary vocal edginess to make Mozart’s Elettra come to life, and her acting in the role is terrific. The Voice, a frightening vocal personification of the god Poseidon, is handled as well here as I have ever heard it done. Recommended. © 2013 Fanfare Read complete review

Nicholas Sheffo
Fulvue Drive-in, August 2012

Kent Nagano delivers Mozart’s Idomeneo in what is one of only two vocal releases this time around and the first time we have ever covered this particular work about war, royalty, betrayal and class division was recorded June 11 & 14, 2008 in Munich at the restored Cuvillies Theater with stage director Dieter Dorn and impresses throughout. It makes for a fine introduction to the work and is a first class presentation all the way. © 2012 Fulvue Drive-in

Lawrence Devoe, July 2012

This 2008 performance coincides with the reopening of the lovely Cuvillies Theater in Munich. Kent Nagano, a superb operatic conductor, leads the Bayerische Staatsoper orchestra and chorus, in an updated production that features a very strong cast: John Mark Ainsley as Idomeneo the King of Crete, Pavel Breslik as his son Idamante, Juliane Banse as Ilia the captured Trojan princess, Annette Dasch as Elettra the daughter of Agamemnon, and Rainer Trost as Arbace.

Dieter Dorn presents a stark stage with stylized costumes and no shortage of blood on the characters. Camera work very much of the in your face approach which, in this case, effectively heightens the drama and works to the advantage of the sparse sets.

The…sound track is very vivid and gives a good account of the stage and pit…the level of vocalism is simply outstanding, as we get to hear some of the best Mozarteans on today’s stage. For me, the aha moment was Annette Dasch’s rendition of Elettra’s mad scene, riveting in its power and pathos. Here is a Mozart singer with Wagnerian chops, exactly what this role requires.

The current entry is the first BD and, from the standpoint of cast and musical direction can hold its own against the current DVD competition. The quality of sight and sound recording is generally good and make this an enjoyable watch of what might be an unfamiliar masterpiece for many of us. © 2012 Read complete review

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1:36:23 PM, 4 October 2015
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