BLO takes on its first ‘Idomeneo’

The piece itself represents the composer’s proprietary take on the opera seria tradition, bringing it to new levels of dramatic dynamism. Atypically for Mozart, there is also an earnest solemnity to this score, a pathos that is left virtually undiluted by other elements. The plot centers on the ordeals of Idomeneo, king of Crete, who survives a storm by pleading for mercy from Neptune, and in return pledges to sacrifice the first human he meets. Tragically, that person is his own son, Idamante, a role conceived for castrato and these days usually sung by a mezzosoprano.

BLO’s production, directed by Lillian Groag, is new in this context; its scenery and costumes were actually created for a Glimmerglass Opera staging of “Orphée et Eurydice’’ in 2007. John Conklin’s set is an attractive village square, classical architecture crumbling at the edges. Groag’s concept of framing the action as a kind of reenactment created for a Neptune festival seems an odd choice, strangely distancing a work whose emotional directness and immediacy are among its strongest qualities and require no reframing at all.

Last night, Sandra Piques Eddy as Idamante gave the clear standout performance, delivered with a warm tone, secure technique, and well-grounded stage presence. Jason Collins’s tenor was at times thin, but he was a dramatically committed Idomeneo, conveying the king’s anguish, if somewhat less of his dignity. Camille Zamora was a sympathetic Ilia, and Caroline Worra seemed to throw everything she had, vocally and dramatically, into the role of Elettra.

Conductor David Angus brought a sense of constant forward motion to the score and had the orchestra sounding much cleaner than it did on opening night of the previous Strauss production, even if there were still rough edges and a certain fuzziness in the orchestra’s sound.

“Idomeneo’’ is worth seeking out, especially if you’re a Mozart fan not yet acquainted with this wonderfully imaginative score.