To this may be added the great difficulty of satisfying the requirements of music, together with those of declamatory speech, and of filling the pauses with suitable gestures and movements, the amount of histrionic art necessary being rarely possessed by singers. Benda's melodramas were written for distinguished actresses, whose forte lay in their declamation and action; the situations were selected with this view, the dialogue was constructed in accordance with it; in fact, each scene was self-contained, not incorporated as a component part of a greater whole. Objections of this kind must have acted upon Mozart at a later time; at all events, he never again employed melodrama, not even in the "Zauberflote," when the occasion seemed ready to hand. It was nevertheless often introduced into operas—and partially also into plays—with very good effect. But the effect relies chiefly either on the material impressions of sound or upon the delicate and intellectual treatment of the musical interludes, suggesting familiar ideas, sentiments, or fancies, which exist in the minds of the speakers, though they are incapable of expression in speech.[ 43 ] These are certainly admirable points in their place, but they can scarcely serve as organising principles in a work of art; the melodrama must be content to take its place as a subordinate and connecting member if it is to have its true effect.
Mozart never took up this opera again, and he was right. It could only have been rendered fit for the stage by complete reconstruction. The first act, however graceful the music may be, has too little variety in its treatment and tone to gain favour on the stage; the second is, as we have seen, barely tolerable. After the composition of the "Entführung," "Zaide" was heard of no more, partly on account of the similarity of subject and accessories, partly because it was so far surpassed in every respect that it could not fail to fall henceforth into oblivion.[ 44 ]
CHAPTER XXII. "IDOMENEO."
ALTHOUGH in his earlier years Mozart's career had, as we have seen, been hindered by the circumstances IDOMENEO. to which he was forced to succumb at Salzburg, yet the severe discipline to which he was subjected must have been in many respects useful during his period of education. Since his return from his travels, however, his Salzburg surroundings were utterly oppressive and distasteful to him. His time of training was over; what he now required was freedom, work worthy of his powers, and the means of producing all that he was able and willing to produce. But of all this Salzburg could give nothing, and want of appreciation and mistrust, in addition to external obstacles, almost caused Mozart to lose heart and spirit, and throw up his post. His longing looks were naturally turned in whatever direction deliverance might seem to lie, and he considered it a fortunate circumstance when he was commissioned to write the opera for the Carnival of 1781 at Munich. The interest he had excited in Karl Theodor and his consort rendered it comparatively easy for Mozart's friends among the court singers and musicians to direct the choice so that it should fall on him; the Archbishop had promised leave of absence too distinctly to be able to draw back, nor would his many obligations to the Bavarian court have rendered a refusal possible. An entirely new opera was desired on this occasion, and the Abbot Giambatt. Varesco, who had been court chaplain at Salzburg since 1766, was commissioned to write the libretto; he could take counsel with Mozart, who knew the Munich company well, and by obeying his suggestions make the text quite according to his mind, so that a work not unworthy of the brilliant fame of the Munich Opera might be expected. When a translation of the text was called for later, Mozart proposed his old friend Schachtner, who was CHARACTERS AND PLOT. employed to do it; and Leopold Mozart could write with some pride to Breitkopf (August 10,1781): "It is remarkable that every part of the work is by persons residing in Salzburg: the poetry by the court chaplain, Abbate Varesco, the music by my son, and the German translation by Herr Schachtner."
Varesco's "Idomeneo" was modelled on the opera "Idomenée," written by Danchet and composed by Campra, first performed in 1712 and revived in 1731.[ 1 ]
The dramatis personæ are as follows:—[See Page Images]
The plot is briefly as follows:—
Idomeneo, King of Crete, after the siege of Troy, has wandered a long way from his home, where his son, Idamante, grown to man's estate during his absence, awaits him in filial love. Electra, daughter of Agamemnon, banished by the people of Argus on account of the matricide of Orestes, has taken refuge with Idamante, and becomes deeply enamoured of him. But Ilia, daughter of Priam, who, with other Trojan captives, has been sent to Crete by Idomeneo, has conceived a passion for Idamante, which he returns. At the opening of the opera we find Ilia struggling with her love for the enemy of her fatherland (aria, 2). Idamante approaches her joyfully. He has received tidings that his father's fleet is in sight, and has sent his old confidant, Arbace, to bring more exact intelligence. On this joyful day he gives freedom to all the Trojan captives, and declares his love for Ilia, which she, although reluctantly, rejects; whereupon he bewails himself in an aria (3). The captive Trojans are led in and loosed from their fetters, IDOMENEO. giving occasion for a joyful chorus. Electra comes and expresses dissatisfaction at the liberation of so many enemies. Then follows Arbace with intelligence (which is mistaken) of the shipwreck of Idomeneo. Idamante departs overwhelmed with grief. Electra remains behind and gives vent to her jealousy and despair in a song (aria, 5). The scene changes to the sea-coast, and the fleet of Idomeneo is seen threatened by a storm, and driven on to the rocks, the mariners lamenting and beseeching aid. Neptune appears and commands the winds to depart. Idomeneo prays for his help, but the god casts threatening glances on him, and disappears. The sea being calmed, Idomeneo lands and declares that, during the storm, he has vowed to sacrifice to Neptune the first person who shall meet him on shore. He trembles at the rashness of his vow, and anxiously looks for the sacrifice he is to make (aria, 6). Idamante enters, having sought solitude as ease to his grief. He offers shelter to the stranger, whom he fails to recognise. In the course of conversation it transpires that he is mourning for his father Idomeneo. Whereupon Idomeneo makes himself known, but overcome by the horror of his situation, he departs, forbidding Idamante to follow him. The latter, ignorant of the cause, is inconsolable at his father's rejection of his proffered love and services (aria, 8). An intermezzo of suitable character follows the first act. The warriors of Idomeneo disembark to a march (9), are welcomed by their wives and children, and "express their joy in a grand figure-dance, ending with a chorus (10)."
