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{{Short description|1781 opera by Wolfgang Amadeus Mozart}}
{{Infobox opera
| name = Idomeneo, re di Creta ossia Ilia e Idamante
| composer = [[Wolfgang Amadeus Mozart]]
| image = Livret d'Idoménéo de Mozart.jpg
| image_upright = 1.4
| caption = Front page of a bilingual vocal score
| librettist = [[Giambattista Varesco]]
| language = Italian
| based_on = [[Antoine Danchet]]'s ''Idoménée''
| premiere_date = {{Start date|1781|01|29|df=y}}
| premiere_location = [[Cuvilliés Theatre]], Munich
}}
'''{{Lang|it|Idomeneo, re di Creta ossia Ilia e Idamante}}''' (Italian for ''[[Idomeneus]], King of Crete, or, Ilia and Idamante''; usually referred to simply as '''''Idomeneo''''',<ref>{{IPA|it|idomenˈeo}}</ref> [[Köchel catalogue|K.]] 366) is an Italian-language [[opera seria]] by [[Wolfgang Amadeus Mozart]]. The [[libretto]] was adapted by [[Giambattista Varesco]] from a French text by [[Antoine Danchet]], based on a 1705 play by [[Prosper Jolyot de Crébillon |Crébillion père]], which had been set to music by [[André Campra]] as ''[[Idoménée]]'' in 1712. Mozart and Varesco were commissioned in 1780 by [[Charles Theodore, Elector of Bavaria|Karl Theodor]], [[Elector of Bavaria]] for a court carnival. He probably chose the subject, though it may have been Mozart.<ref>{{cite book|last=Cairns|first=David|author-link=David Cairns (writer)|title=Mozart and His Operas|year=2006|page=36|publisher=University of California Press|isbn=978-0-520-22898-6}}</ref> The work premiered on 29 January 1781 at the [[Cuvilliés Theatre]] in Munich, Germany.

==Composition==
[[File:Idomeneo score.jpg|thumb|upright=1.4|Page from Mozart's original score for ''Idomeneo'', showing cancellations]]
The libretto clearly draws inspiration from [[Metastasio]] in its overall layout, the type of character development, and the highly poetic language used in the various numbers and the ''secco'' and ''stromentato'' [[recitative]]s. The style of the choruses, marches, and ballets is very French, and the shipwreck scene towards the end of act 1 is almost identical to the structure and dramatic working-out of a similar scene in [[Christoph Willibald Gluck|Gluck]]'s ''[[Iphigénie en Tauride]]''. The sacrifice and oracle scenes are similar to Gluck's ''[[Iphigénie en Aulide]]'' and ''[[Alceste (Gluck)|Alceste]]''.

Kurt Kramer<ref>Kurt Kramer, "Antike und christliches Mittelalter in Varescos ''Idomeneo'', dem Libretto zu Mozarts gleichnamiger Oper" in ''Mitteilungen der Internationalen Stiftung Mozarteum'', xxviii/1–2 (1980), 6.20</ref> has suggested that Varesco was familiar with [[Ranieri de' Calzabigi|Calzabigi]] and therefore the work of Gluck, especially the latter's ''Alceste''; much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi. It is thanks to Mozart, though, that this mixture of French styles (apart from a few choruses) moves away from Gluck and France and returns to its more Italian (''[[opera seria]]'') roots; the singers were all trained in the classical Italian style, after all, and the recitatives are all classically Italian.

==Ballet music, K. 367==
As per French tradition, the opera uses ballet to its advantage. Mozart wrote one to be performed in the opera (K. 367) which he considered more of a [[Jean-Baptiste Lully|Lullian]] [[divertissement]].<ref>[https://www.gutenberg.org/files/5307/5307-h/5307-h.htm ''The Letters of Wolfgang Amadeus Mozart''], vol. 1, translated by [[Grace Jane Wallace|Lady Wallace]], New York and Philadelphia: 1866. #137 Munich, December 30, 1780 (via [[Project Gutenberg]])</ref> It is in several parts and lasts around fifteen minutes.

The structure is as follows. The first four dances transition into each other, while the last three are separate.

#[[Chaconne]] ([[Tempo#Italian tempo markings|Allegro]]) in [[D major]], {{music|time|3|4}}
#Annonce ([[Tempo#Italian tempo markings|Larghetto]]) in [[B-flat major]], {{music|time|3|4}}
#Chaconne ''qui reprenda'' (Allegro, starts in [[D minor]], then goes to D major), {{music|time|3|4}}
#Pas seul ([[Tempo#Italian tempo markings|Largo]]) in D major — [[Allegretto]] (attacca), {{music|time|3|4}} — Piu Allegro (attacca), {{music|time|3|4}} — Piu allegro (attacca), {{music|time|3|4}}
#[[Passepied]] in B-flat, {{music|time|3|8}}
#[[Gavotte]] in G, {{music|time|2|2}}
#[[Passacaglia|Passacaille]] in [[E-flat major]], {{music|time|3|4}} (unfinished)

The ballet is scored for the opera's full orchestra of flutes, oboes, clarinets (only present in the passacaille), bassoons, horns, trumpets, timpani, and strings. It showcases the many famous techniques of the [[Mannheim orchestra]], including stupefying crescendos and ''tutti'' passages. Throughout the manuscript, Mozart wrote the dancers who would be partaking in a specific section of the ballet; id est, "Pas seul de Mad. Falgera", or "Pas seul de Mr. [Jean-Pierre] Le Grand", who was the main choreographer for the opera's Munich premiere.

It is unclear exactly where Mozart had intended the divertissement to occur in the opera. In the ''[[Neue Mozart-Ausgabe]]'', [[Harald Heckmann]] suggests that it was performed after the first act, but [[Daniel Heartz]] states that it must have been performed after the final chorus of the third and last act, citing the majesty and pomposity of the D major ''Pas seul'', perfect for concluding an opera.

Along with the Chaconne up to the ''Pas seul'', which form a consistent whole via ''attacca'' transitions, the manuscript is bound with three other dances; a passepied in B-flat, a gavotte in G (which is rather famous; [[Tchaikovsky]] conducted it at one of his [[Russian Musical Society]] concerts),<ref>[http://en.tchaikovsky-research.net/pages/Idomeneo_(Mozart) "''Idomeneo'' (Mozart)"], tchaikovsky-research.net</ref> and an unfinished ''passacaille'' in E-flat. Due to the separation from the first half of the ballet, as well as the incomplete status of them, Daniel Heartz speculates that they were simply never performed.<ref>[https://dme.mozarteum.at/DME/objs/pdf/nma_79_49_102.pdf "Balletmusik zur Oper ''Idomeneo''], ''[[Neue Mozart-Ausgabe]]''{{failed verification|date=May 2021|reason=That's a link to the score, not to Heartz's commentary.}}</ref>

Gluck's influence on Mozart is demonstrated as the Chaconne begins with a musical quotation from Gluck's ballet from ''[[Iphigénie en Aulide]]''.<ref>{{cite web|url=https://www.sfsymphony.org/Data/Event-Data/Program-Notes/M/Mozart-Ballet-Music-from-Idomeneo-K-367|title=Program notes: Mozart: Ballet Music from ''Idomeneo'', K.367|author1=[[Michael Steinberg (music critic)|Michael Steinberg]]|author2=James M. Keller|date=June 2019|access-date=29 June 2022|publisher=[[San Francisco Symphony]]}}</ref>

==Performance history==
[[File:Cuvilliés Theatre, Munich, view from second tier to stage.jpg|thumb|Cuvilliés Theatre in 2023, after restoration]]
It was first performed at the [[Cuvilliés Theatre]] of the [[Munich Residenz]] on 29 January 1781, under the musical direction of [[Christian Cannabich]].<ref>[http://christermalmberg.se/documents/musik/klassiskt/cannabich_christian/contemporaries_of_mozart_cannabich_(chandos).php "Christian Cannabich"], Richard Lawrence (2006)</ref> The opera apparently owed much of its success at its first performance to the set designs: a notice in the Munich press did not mention Mozart by name but said (translation): "The author, composer and translator are all natives of Salzburg; the decors, among which the view of the port and Neptune's temple were outstanding, were masterpieces by our renowned theatre designer, court Councillor [[Lorenzo Quaglio]], and everyone admired them tremendously."<ref>{{cite book|last1=Heartz|first1=Daniel|author-link=Daniel Heartz|title=Haydn, Mozart and the Viennese School: 1740–1780|date=1995|publisher=W. W. Norton|isbn=978-0393037128|page=708}}</ref> ''Idomeneo'' was Mozart's first mature opera, in which he – unique among composers – for the first time and continuing this for all his subsequent operas, ended the work in the [[key (music)|key]] of the [[overture]].<ref>{{cite book|title=Essays on Opera, 1750–1800|author=James Webster|author-link=James Webster (musicologist)|editor=John A. Rice|editor-link=John A. Rice (musicologist)|page=216|year=2017|publisher=Routledge|edition=reprint|series=[[Ashgate Publishing|Ashgate]] Library of Essays in Opera Studies|isbn=9781351567886}}</ref><ref>* {{cite web|last=Levin|first=Robert|author-link=Robert Levin (musicologist)|url=https://www.classical-scene.com/2008/11/27/musing-on-mozart-and-studying-with-boulanger/|date=27 November 2008|title=Musing on Mozart and Studying with Boulanger|website=The Boston Musical Intelligencer}}</ref> With ''Idomeneo'', he demonstrated a mastery of orchestral color, accompanied recitatives, and melodic line. Mozart fought with the librettist, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by the singers (too many "i"s in "rinvigorir", which in Italian are pronounced as in b'''ee''').{{sfn|Cairns|2006|p=45}}<ref>Unusually for composer–librettist interactions, there is strong documentation, since [[Giambattista Varesco|Varesco]] was living in Salzburg, near Mozart's father [[Leopold Mozart|Leopold]]: Mozart wrote forceful letters expressing his wishes to his father, who communicated in person with Varesco. Spaethling describes the working arrangements and provides in translation the text of Mozart's letters. {{cite book|last=Spaethling|first=Robert|year=2005|title=Mozart's Letters, Mozart's Life|page=208|location=New York|publisher=Norton|isbn=9780393247961}}</ref>

''Idomeneo'' was performed three times in Munich. Later in 1781 Mozart considered (but did not put into effect) revisions that would have brought the work closer into line with Gluck's style; this would have meant a bass Idomeneo and a tenor Idamante.

A concert performance was given in 1786 at the [[Palais Auersperg]] in Vienna. For this, Mozart wrote some new music, made some cuts, and changed Idamante from a castrato to a tenor.

The British premiere was given by the amateur [[Glasgow Grand Opera Society]] under [[Erik Chisholm]] on 12 March 1934.<ref>[[Winton Dean]]. 'Oxbridge and Idomeneo' in ''The Musical Times'', No. 1576 Vol. 115, June 1974, p. 475</ref> The first performance in the United States was produced by [[Boris Goldovsky]] at the [[Berkshire Music Festival]] at Tanglewood during the summer of 1947.<ref>[[Boris Goldovsky|Goldovsky, Boris]], ''My Road to Opera'', Houghton Mifflin, 1979</ref>

Today ''Idomeneo'' is part of the standard operatic repertoire. There are several recordings of it (see below), and it is regularly performed.

In 2006 there was a controversy over the cancelling of a 2003 production directed by [[Hans Neuenfels]] at the [[Deutsche Oper Berlin]] (see [[2006 Idomeneo controversy]]).

===Richard Strauss version===
The approach of the 150th anniversary of ''Idomeneo'''s premiere placed some major European opera houses in a quandary: commemorative performances of so magnificent and historically important a score seemed obligatory, but, at the same time, how dared they mount an opera that 1930/31 audiences were bound to reject as hopelessly unstageworthy? The solution hit on in Munich and Vienna was to have ''Idomeneo'' adapted for modern tastes, but to show due reverence to Mozart's genius by entrusting the adaptations to famous twentieth-century opera composers with impeccable credentials as Mozarteans. Thus [[Bavarian State Opera|Munich]] commissioned an ''Idomeneo'' revision from [[Ermanno Wolf-Ferrari]], performed in 1931, and the same year the [[Vienna State Opera]] presented a distinctively interventionist version of the score by [[Richard Strauss]].

For his adaptation of ''Idomeneo'', Strauss employed a German libretto by [[Lothar Wallerstein]] that was partially a translation of the original Italian libretto, but with some changes to reflect the rearranging of the music. Strauss replaced about 1/3 of Mozart's score with some of his own music (even introducing the "Fall of Troy" motif from his own 1928 opera ''[[Die ägyptische Helena]]''), and rearranged much of the music left behind. For example, Ilia's opening aria "{{lang|it|Padre, germani, addio!|italic=no}}" is mostly intact with a few changes to the long introductory recitative, but when Idamante (specifically written to be sung by a tenor in this version) enters, he sings Mozart's [[Non piu, tutto ascoltai|Non piu, tutto ascoltai, K490]] (which was added to Mozart's original revision of ''Idomeneo'') instead of "{{Lang|it|Non ho colpa|italic=no}}". A few major changes to the plot were made as well, such as changing princess Elettra to priestess Ismene. Critics have noted that Strauss's additions contain an interesting blend of the classical style of composition and Strauss's own characteristic sound. In 1984, New York's [[Mostly Mozart Festival]] presented Strauss's version with [[Jerry Hadley]] in the title role, [[Delores Ziegler]] as Idamante, and [[Alessandra Marc]] as Ismene.<ref>[https://query.nytimes.com/gst/fullpage.html?res=9E07E7DC1238F93AA2575BC0A962948260 "Music: Strauss's Setting of Mozart's ''Idomeneo''"], ''[[The New York Times]]''</ref>

==Roles==
[[File:Anton Raaff als Idomeneo.JPG|thumb|upright|[[Anton Raaff]] as Idomeneo in Munich]]
{| class="wikitable"
|+{{sronly|Roles, voice types, premiere cast}}
!Role
![[Voice type]]
!Premiere cast, 29 January 1781<br />Conductor: [[Christian Cannabich]]<ref>{{Almanacco|dmy=29-01-1781|match=Idomeneo|label=''Idomeneo'' (29 January 1781)}}</ref>
|-
|Ilia, ''daughter of King Priam of Troy''
|[[soprano]]
|[[Dorothea Wendling]]
|-
|Idomeneo ([[Idomeneus]]), ''King of Crete''
|[[tenor]]
|[[Anton Raaff]]
|-
|Idamante (Idamantes), ''son of Idomeneo''
|soprano [[castrato]], later rewritten as tenor
|[[Vincenzo dal Prato]]
|-
|Elettra ([[Electra]]), ''Princess of Argos''
|soprano
|[[Elisabeth Wendling]]
|-
|Arbace (Arbaces), ''Idomeneo's confidant''
|tenor
|[[Panzacchi|Domenico de' Panzacchi]]
|-
|High priest of Neptune
|tenor
|[[Giovanni Valesi]]
|-
|The voice of the Oracle of Neptune
|[[bass (voice type)|bass]]
|
|-
|Two Cretan women
|soprano and [[mezzo-soprano]]
|
|-
|Two Trojans
|tenor and bass
|
|}

==Instrumentation==
The instrumentation is:
* [[Woodwind instrument|Woodwinds]]: 2 [[Western concert flute|flutes]], [[piccolo]] (only in the storm of act 2), 2 [[oboe]]s, 2 [[clarinet]]s, 2 [[bassoon]]s. B clarinets (an instrument that is now obsolete) are used in No. 15 (pp.&nbsp;283ff in ''[[Neue Mozart-Ausgabe|NMA]]'') and No. 19 (pp.&nbsp;352ff).
* [[Brass instrument|Brass]]: 4 [[Natural horn|horns]] (in D, in C, in B-flat ([[alto]])/in B ({{Lang|de|hoch}}), in G), 2 [[trumpet]]s in D, 3 [[trombone]]s (only accompanying the off-stage voice of Neptune in act 3)
* [[Percussion instrument|Percussion]]: [[timpani]] in D and in A
* [[Basso continuo]]  ([[harpsichord]] and [[Cello|violoncello]])
* [[String section|Strings]]

==Synopsis==
[[File:Idomeneo frontespizi.JPG|thumb|upright=1.4|Title pages (Italian and German) from the first version of the original libretto]]

===Overture===
The [[overture]], in [[D major]] and [[common time]], is in a modified [[sonata form]] in which the [[development (music)|development]] is but a very short transition section connecting the [[exposition (music)|exposition]] with the [[recapitulation (music)|recapitulation]]. Other conventional hallmarks of the sonata form are apparent: the exposition [[Modulation (music)|modulates]] from the [[tonic (music)|tonic]] (D major) to the [[dominant (music)|dominant]] ([[A major]]), while the recapitulation is centred on the tonic. The overture concludes with a [[Coda (music)|coda]] ending in D major chords. These chords, soft and tentative, turn out not to be a [[Resolution (music)|resolution]] of the overture in the tonic but chords in the dominant of [[G minor]], which is the home key of the scene that immediately follows.<ref>{{cite book|last=Rushton|first=Julian|author-link=Julian Rushton|title=W. A. Mozart: Idomeneo|series=Cambridge Opera Handbooks|date=1993|publisher=Cambridge University Press|isbn=9780521437417|pages=5–8}}</ref>

===Act 1===
Island of [[Crete]], shortly after the [[Trojan War]]. Ilia, daughter of the defeated Trojan King [[Priam]], has been taken to Crete after the war. She loves Prince Idamante, son of the Cretan King Idomeneo, but hesitates to acknowledge her love. Idamante frees the Trojan prisoners in a gesture of good will. He tells Ilia, who is rejecting his love, that it is not his fault that their fathers were enemies. Trojans and Cretans together welcome the return of peace, but [[Electra]], daughter of the Greek King [[Agamemnon]], is jealous of Ilia and does not approve of Idamante's clemency toward the enemy prisoners. Arbace, the king's confidant, brings news that Idomeneo has been lost at sea while returning to Crete from Troy. Electra, fearing that Ilia, a Trojan, will soon become Queen of Crete, feels the [[furies]] of the underworld rise up in her heart (aria: "Tutte nel cor vi sento, furie del crudo averno" – "I feel you all in my heart, furies of the cruel underworld").

Idomeneo is saved by [[Neptune (mythology)|Neptune]] (god of the sea) and is washed up on a Cretan beach. There he recalls the vow he made to Neptune: to sacrifice, if he should arrive safely on land, the first living creature he should meet. Idamante approaches him, but because the two have not seen each other for a long time, recognition is difficult. When Idomeneo finally realizes the youth that he must sacrifice for the sake of his vow is his own child, he orders Idamante never to seek him out again. Grief-stricken by his father's rejection, Idamante runs off. In an Intermezzo between Acts 1 and 2, Cretan troops disembarking from Idomeneo's ship are met by their wives, and all praise Neptune.

===Act 2===
At the king's palace, Idomeneo seeks counsel from Arbace, who says another victim could be sacrificed if Idamante were sent into exile. Idomeneo orders his son to escort Electra to her home, [[Ancient Argos|Argos]]. Idomeneo's kind words to Ilia move her to declare that since she has lost everything, he will be her father and Crete her country. As she leaves, Idomeneo realizes that sending Idamante into exile has cost Ilia her happiness as well as his own. Electra welcomes the idea of going to Argos with Idamante.

At the port of Sidon (a fictional city of Crete), Idomeneo bids his son farewell and urges him to learn the art of ruling while he is away. Before the ship can sail, however, a storm breaks out, and a sea serpent appears. Recognizing it as a messenger from Neptune, the king offers himself as atonement for having violated his vow to the god.

===Act 3===
In the royal garden, Ilia asks the breezes to carry her love to Idamante, who appears, explaining that he must go to fight the serpent. When he says he would rather die than suffer the torments of his rejected love, Ilia confesses her love. They are surprised by Electra and Idomeneo. When Idamante asks his father why he sends him away, Idomeneo can only reply that the youth must leave. Ilia asks for consolation from Electra, who is preoccupied with revenge. Arbace comes with news that the people, led by the High Priest of Neptune, are clamoring for Idomeneo. The High Priest tells the king of the destruction caused by Neptune's monster, urging Idomeneo to reveal the name of the person whose sacrifice is demanded by the god. When the king confesses that his own son is the victim, the populace is horrified.

Outside the temple, the king and High Priest join Neptune's priests in prayer that the god may be appeased. Arbace brings news that Idamante has killed the monster. As Idomeneo fears new reprisals from Neptune, Idamante enters in sacrificial robes, saying he understands his father's torment and is ready to die. After an agonizing farewell, Idomeneo is about to sacrifice his son when Ilia intervenes, offering her own life instead. The Voice of Neptune is heard. Idomeneo must yield the throne to Ilia and Idamante. Everyone is relieved except Electra, who longs for her own death. Idomeneo presents Idamante and his bride as the new rulers. The people call upon the god of love and marriage to bless the royal pair and bring peace.

==List of arias==
''Act 1''
* "Padre, germani, addio" ("Father, brothers, farewell"), Ilia
* "Non ho colpa" ("I am not guilty"), Idamante
* "Tutte nel cor vi sento furie del cupo averno" ("I can feel you all in my heart, furies of the dark hell"), Electra
* "Vedrommi intorno" ("I shall see around me"), Idomeneo
* "Il padre adorato" ("My beloved father"), Idamante
''Act 2''
* "Se il tuo duol" ("If your pain"), Arbace
* "Se il padre perdei" ("If I lost my father"), Ilia
* "Fuor del mar" ("Out of the sea"), Idomeneo
* "Idol mio" ("My sweetheart"), Electra
''Act 3''
* "Zeffiretti lusinghieri" ("Zephyrs caressing"), Ilia
* "Se colà ne' fati è scritto" ("If it is written in the destiny"), Arbace
* "No, la morte io non pavento" ("No, I am not afraid of dying"), Idamante
* "D'Oreste, d'Ajace ho in seno i tormenti" ("I feel Orestes's and Ajax's torments in my heart"), [[mad scene]], Electra
* "Torna la pace" ("Peace comes again"), Idomeneo

==Recordings==

===Audio===
{| class="wikitable"
!Year
!Cast: Ilia,<br>Elettra,<br>Idamante,<br>Idomeneo,<br>Arbace
!Conductor<br />opera house and orchestra
!Label<ref>[http://operadis-opera-discography.org.uk/CLMOIDOM.HTM Source of recordings: operadis-opera-discography.org.uk] Retrieved 21 February 2013</ref>
|-
| 1950 || Gertraud Hopf,<br />[[Gertrude Grob-Prandl]],<br />Greta Menzel,<br />Horst Taubmann,<br />[[Herbert Handt]] || [[Meinhard von Zallinger]]<br />[[Vienna Symphony]]<br />[[Vienna State Opera|Vienna State Opera Chorus]] ||CD: [[Vox Records|Vox]]<br>Cat: ??
|-
| 1951 || [[Sena Jurinac]],<br />[[Birgit Nilsson]],<br />[[Léopold Simoneau]],<br />[[Richard Lewis (tenor)|Richard Lewis]],<br />[[Alfred Poell]] || [[Fritz Busch]]<br />[[Glyndebourne Festival Opera|Glyndebourne Festival Chorus and Orchestra]]||CD: Urania Records (live recording),<br>Cat: ??
|-
| 1956 || [[Sena Jurinac]],<br />[[Lucilla Udovich]],<br />[[Léopold Simoneau]],<br />[[Richard Lewis (tenor)|Richard Lewis]],<br />James Milligan || [[John Pritchard (conductor)|John Pritchard]]<br />[[Glyndebourne Festival Opera|Glyndebourne Festival Chorus and Orchestra]]||CD: [[EMI]],<br>Cat: CHS 7 63685-2
|-
| 1956 || [[Hildegard Hillebrecht]],<br />[[Christel  Goltz]],<br />[[Waldemar Kmentt]],<br />[[Rudolf Schock]],<br />[[Eberhard Waechter]] ||[[Karl Böhm]]<br />[[Vienna Philharmonic]]<br />[[Vienna State Opera]] Chorus||CD: Walhall Eternity Series,<br>Cat: WLCD 0187
|-
| 1960 || [[Janine Micheau]],<br />Berthe Monmart,<br />Jacqueline Sellier,<br />Rémy Corazza,<br />[[Camille Maurane]] || [[Gustave Cloëz]]<br />Orchestre Lyrique de l'O.R.T.F<br />Chorale Lyrique de l'O.R.T.F ||CD reissue: Gala,<br>Cat: GL 100.744
|-
| 1964 || [[Gundula Janowitz]],<br />[[Enriqueta Tarrés]],<br />[[Luciano Pavarotti]],<br />[[Richard Lewis (tenor)|Richard Lewis]],<br />[[Neilson Taylor]] ||[[John Pritchard (conductor)|John Pritchard]]<br />[[London Philharmonic Orchestra]]<br />[[Glyndebourne Festival Opera]]||CD: [[Glyndebourne (record label)|Glyndebourne]],<br>Cat: 920715 (Notablu)
|-
| 1968 || [[Margherita Rinaldi]],<br />[[Pauline Tinsley]],<br />[[Ryland Davies]],<br />[[George Shirley]],<br />[[Robert Tear]] ||[[Colin Davis]]<br />[[BBC Symphony Orchestra]]<br />[[BBC Symphony Chorus]]||CD: [[Philips Records|Philips]],<br>Cat: 420 130-2
|-
| 1971 || [[Heather Harper]],<br />[[Rae Woodland]],<br />[[Jessye Norman]],<br />[[Nicolai Gedda]],<br />Andréa Snarski ||<br />[[Colin Davis]]<br />Italian Radio Symphony Orchestra Rome,<br />Italian Radio Chorus Rome||CD: Opera d'Oro,<br>Cat: 58471129
|--
| 1971 || [[Anneliese Rothenberger]],<br />[[Edda Moser]],<br />[[Adolf Dallapozza]],<br />[[Nicolai Gedda]],<br />[[Peter Schreier]] || [[Hans Schmidt-Isserstedt]]<br />[[Sächsische Staatskapelle Dresden]]<br />[[MDR Symphony Orchestra|Leipzig Radio Choir]]||CD: [[EMI]],<br>Cat: CMS 7 63990 2
|-
| 1979 || [[Edith Mathis]],<br />[[Júlia Várady]],<br />[[Peter Schreier]],<br />[[Wiesław Ochman]],<br />[[Hermann Winkler (tenor)|Hermann Winkler]] ||[[Karl Böhm]]<br />[[Sächsische Staatskapelle Dresden]]<br />Leipzig Radio Choir||CD: [[Deutsche Grammophon]],<br>Cat: 429 864-2
|-
| 1981 || [[Rachel Yakar]],<br />[[Felicity Palmer]],<br />[[Trudeliese Schmidt]],<br />[[Werner Hollweg]],<br />[[Kurt Equiluz]] || [[Nikolaus Harnoncourt]]<br />[[Zurich Opera|Chorus & Zurich Opera House Mozart Orchestra]]||CD: [[Teldec]],<br>Cat: ??
|-
|1983 || [[Lucia Popp]],<br />[[Edita Gruberová]],<br />[[Agnes Baltsa]],<br />[[Luciano Pavarotti]],<br />[[Leo Nucci]] ||[[John Pritchard (conductor)|John Pritchard]]<br />[[Vienna Philharmonic]]<br />[[Vienna State Opera|Vienna State Opera Chorus]]||CD: [[Decca Records|Decca]],<br>Cat: 475 7041
|-
| 1990 || [[Sylvia McNair]],<br />[[Hillevi Martinpelto]],<br />[[Anne Sofie von Otter]],<br />[[Anthony Rolfe Johnson]],<br />[[Nigel Robson]] ||[[John Eliot Gardiner]]<br />[[English Baroque Soloists]]<br />[[Monteverdi Choir]]||CD: [[Archiv Produktion]],<br>Cat: 431 674-2
|-
| 1991 || [[Barbara Hendricks]],<br />[[Roberta Alexander]],<br />[[Susanne Mentzer]],<br />[[Francisco Araiza]],<br />Uwe Heilmann ||[[Colin Davis]]<br />[[Bavarian Radio Symphony Orchestra|Bavarian Radio Symphony Orchestra and Chorus]]||CD: [[Philips Records|Philips]],<br>Cat: 422 537-2
|-
| 1994 || [[Heidi Grant Murphy]],<br />[[Carol Vaness]],<br />[[Cecilia Bartoli]],<br />[[Plácido Domingo]],<br />[[Thomas Hampson]] ||[[James Levine]]<br />[[Metropolitan Opera|Metropolitan Opera Orchestra and Chorus]]||CD: [[Deutsche Grammophon]],<br>Cat: ??
|-
| 2001 || [[Lisa Milne]],<br />[[Barbara Frittoli]],<br />[[Lorraine Hunt Lieberson]],<br />[[Ian Bostridge]],<br />[[Anthony Rolfe Johnson]] || [[Charles Mackerras]]<br />[[Edinburgh International Festival|Edinburgh Festival Chorus]]<br />[[Scottish Chamber Orchestra]]||CD: [[EMI]],<br>Cat: ??
|-
| 2007 || Martene Grimson,<br />Penelope Mills,<br />[[Fiona Campbell (mezzo-soprano)|Fiona Campbell]],<br />Mark Tucker,<br />Paul McMahon || [[Antony Walker (conductor)|Antony Walker]]<br />[[Cantillation (ensemble)|Cantillation]]<br />[[Orchestra of the Antipodes]]||CD: [[ABC Classics]],<br>Cat: ??
|-
| 2009 || [[Sunhae Im]],<br />[[Alexandrina Pendatchanska]],<br />[[Bernarda Fink]],<br />[[Richard Croft (tenor)|Richard Croft]],<br />[[Kenneth Tarver]] ||[[René Jacobs]]<br />[[Freiburger Barockorchester]]<br />[[RIAS Kammerchor]]<br />Recorded at the Immanuelskirche, Wuppertal||CD: [[Harmonia Mundi]],<br>Cat: ??
|}

===Video===
* [[Benjamin Britten]] (1969, distribution, 2008). BBC. With [[Peter Pears]], [[Heather Harper]], [[Rae Woodland]], [[Anne Pashley]], [[English Opera Group]] et al., OCLC 676295503
*[[John Pritchard (conductor)|John Pritchard]] (1974) [[Glyndebourne Chorus]].  With [[Richard Lewis (tenor)|Richard Lewis]], Bozena Betley, [[Josephine Barstow]], [[Leo Goeke]], Alexander Oliver.
* [[James Levine]] (1982). Deutsche Grammophon. With [[Luciano Pavarotti]], [[Frederica von Stade]], [[Ileana Cotrubaș]], [[Hildegard Behrens]] and [[John Alexander (tenor)|John Alexander]]. This was the [[Metropolitan Opera]]'s first production of the work. See details: [[Idomeneo (Luciano Pavarotti film)|''Idomeneo'' (Luciano Pavarotti recording)]].
* [[Bernard Haitink]] (1983). NVC Arts. Staged by [[Trevor Nunn]]. Starring: [[Philip Langridge]], [[Jerry Hadley]] (singing the tenor version of Idamante), [[Yvonne Kenny]], [[Carol Vaness]]. Filmed in [[Glyndebourne]], studio condition.
* {{ill|Ineke Houtman|fr}} (1993). 50-minute version for children, with actor {{ill|Frank Groothof|nl}} playing almost all roles.<ref>[https://www.filmfestival.nl/en/film/idomeneo "''Idomeneo'' (1993)], [[Netherlands Film Festival]]</ref>
* {{Ill|Marco Guidarini|fr}} (2004). Dynamic. Staged by [[Pier Luigi Pizzi]]. Starring: [[Kurt Streit]]; [[Sonia Ganassi]]; Angeles Blancas Gulin; Iano Tamar; [[Jörg Schneider (tenor)|Jörg Schneider]]; Dario Magnabosco; [[Deyan Vatchkov]]; Antonietta Bellon; Lucia Gaeta; Carmine Durante, Carmine Mennella. Orchestra and Chorus of [[Teatro di San Carlo]], Naples.
* [[Daniel Harding]] (2005). [[RAI]] Trade. [[Camilla Tilling]], Emma Bell, Monica Bacelli, [[Steve Davislim]], [[Francesco Meli]]. Staged by [[Luc Bondy]]. Live from [[La Scala]].
* Sir [[Roger Norrington]] (2006). Decca. Part of the M22 Project from the [[Salzburg Festival]]. Staged by Ursel and Karl-Ernt Herrmann at ''House for Mozart''. With [[Ramón Vargas]], [[Magdalena Kožená]], [[Anja Harteros]], Ekaterina Siurina, Jeffrey Francis.
* [[Kent Nagano]] (2008). Medici Arts. Staged by [[Dieter Dorn]]. With [[John Mark Ainsley]], Pavol Breslik (singing the tenor version of Idamante), [[Juliane Banse]], [[Annette Dasch]], [[Rainer Trost]], [[Guy de Mey]], Steven Humes. Live from the [[Bavarian State Opera]].
* [[Nikolaus Harnoncourt]] (2009). [[styriarte]] Festival Edition. Conducted by Nikolaus, staged by [[Philipp Harnoncourt]]. With [[Saimir Pirgu]]; [[Julia Kleiter]]; [[Marie-Claude Chappuis]]; [[Eva Mei]]; [[Arnold Schoenberg Choir]]; [[Concentus Musicus Wien]]. Includes all original ballet scenes.
* [[James Levine]] (2017). [[Metropolitan Opera]] with [[Matthew Polenzani]], [[Alice Coote]], [[Nadine Sierra]], and [[Elza van den Heever]]. Live from the [[Metropolitan Opera House (Lincoln Center)|Metropolitan Opera House]].<ref>[https://www.metopera.org/season/on-demand/opera/?upc=811357019078 ''Idomeneo'' (2017)], [[Met Opera on Demand]].</ref>
*[[Ivor Bolton]] (2020) with [[Eric Cutler]], David Portillo,Annett Fritsch, [[Eleonora Buratto]], Orchestra and chorus of the [[Teatro Real]]. DVD:[[Opus Arte]] Cat:OA1317D<ref>{{cite web |title=Mozart: Idomeneo |url=https://www.prestomusic.com/classical/products/8770583--mozart-idomeneo |website=Presto Classical |access-date=17 June 2020 |language=en}}</ref>

==See also==
* [[2006 Idomeneo controversy]]

==References==
{{Reflist}}

==External links==
{{Commons category|Idomeneo, Rè di Creta}}
* {{NMA|304|-99|55|-99}} ([[Daniel Heartz]], [[Bruce Alan Brown]])
* [https://dme.mozarteum.at/dmedata/libredition/single.php?idwnma=4475 Libretto],  [[critical edition]]s, [[diplomatic edition]]s, source evaluation (German only), links to online DME recordings – Digital Mozart Edition
* {{IMSLP|work=Idomeneo, K.366 (Mozart, Wolfgang Amadeus)|cname=''Idomeneo''}}
* {{NMA|79|49|||Ballet, K. 367, to Idomeneo}}
* [https://web.archive.org/web/20110719025438/http://www.operainfo.org/broadcast/operaSynopsis.cgi?id=52 Synopsis], [[Metropolitan Opera]]
* [http://arquivo.pt/wayback/20091010190753/http://www.uctv.tv/search-details.asp?showID=5049 San Diego OperaTalk! with Nick Reveles: Mozart's ''Idomeneo''] (Adobe Flash)
* [http://www.impresario.ch/libretto/libmozido_i.htm Libretto]
* [https://books.google.com/books?id=4GWQyyYLvWAC Italian libretto], 1781
* [https://books.google.com/books?id=rfKdVJwEMoQC Italian libretto], 1803

{{Wolfgang Amadeus Mozart}}
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[[Category:Italian-language operas]]
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[[Category:Operas by Wolfgang Amadeus Mozart]]
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[[Category:Operas set in mythological places]]
[[Category:Operas set in ancient Greece]]
[[Category:Works about the Trojan War]]
[[Category:Opera world premieres at the Bavarian State Opera]]