Tonight's fourth performance of "Idomeneo" in the War Memorial Opera House
was a "new" Mozart, with Donald Runnicles shaping the music in a different
way, at variance especially from the opening matinee's robust sound.

This was quiet, elegant, hushed, gentle, serene Mozart, especially the
second act, bringing to mind the Runnicles of SFO's outstanding "Pelleas
et Melisande" exactly a year ago.  Barbara Bonney, in her last performance
(to be replaced by Anna Netrebko next month) and Vesselina Kasarova fell in
with the evening's tone by singing more "internally" than before -- Bonney,
especially, singing with effortless grace, almost in a whisper, albeit a
perfectly projected one.  The third act duet (which, with the quartet that
follows, is among the greatest segments of all Mozart operas) was mature
and resigned, against the youthful passion of previous interpretations.
With the quartet's overwhelming feeling of loss and sorrow, this "young
Mozart" tonight sounded out of "Cosi" or even the Requiem.

Goesta Winbergh, in spite of a couple of rough spots, sang his best
Idomeneo yet -- a wonderful performance.  Carol Vaness started her arias
beautifully, but failed to maintain the internal tension, slackening off,
still finishing spectacularly.  I would dearly love to say great things
about the young tenor Norman Shankle, but for the fourth time, he sounded
merely competent.

But back to Runnicles:  just as he made each of last year's "Tristan" and
"Peter Grimes" performances different, he is not only doing his best Mozart
here yet, he is also providing music that's unpredictable and exciting each
time.  The SFO "Idomeneo" run will be fondly remembered in the years to
come.

Janos Gereben/SF
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