Music Drama as a Christian Parable: Mozart’s Idomeneo

This article discusses Wolfgang Amadeus Mozart’s opera Idomeneo: Re di Creta (1781, to a text by Giambattista Varesco) as a Christian parable in the historical context of its genesis. Mozart’s Idomeneo is based on a short episode in François Fénelon’s Télémaque, but also on Antoine Danchet’s adaptation of this episode for the theater in his tragédie lyrique Idoménée (1712; set to music by André Campra). In important aspects, Mozart’s Idomeneo changed the narrative with a marked independence of Fénelon as well as Danchet. In recent scholarship, important new information has come to light concerning Mozart’s composition of the Oracle scene, constituting the dénouement of the music drama. Based partly on these new insights, I attempt to provide a picture of a basic spiritual intention governing Mozart’s composition of the opera for the Carnival season of 1781 at the Munich court. Mozart’s Idomeneo is a Christian sacrifice drama modeled on the Aqedah (the sacrifice of Isaac; Gen 22: 1–14), which, in Christian traditions, is understood typologically as pointing to the Passion of Christ. Oppositely, Fénélon’s and Danchet’s versions rather correspond to the biblical story of Jephthah (Judges 11: 29–30). In a brief concluding section of this article, I also discuss the contemporary cultural importance of reading a classical opera such as Mozart’s Idomeneo as a conscious product of Enlightened Christianity. In modern times, ecclesiastical boundaries and religious doctrines often seem to matter little in the music and theater culture of the Western world; classical opera is often staged more in order to respond to contemporary political or social issues than to communicate the original intentions of its creators (the so-called Regieoper). I argue that Idomeneo, with its historical intention, potentially can have an impact in a cultural theology (or a theologically informed modern worldview), and further, in dialogue with a recent volume discussing the “music of theology”, that such a role for a piece of music must be developed in concrete musical (or music dramatic) contexts, not as a general philosophical contention. Mozart’s Idomeneo may work in a modern cultural context because it functions as a parable, easily understandable also in a modern political or social context, because of its deep human (psychological) insight and the empathy brought to bear on all the characters of the opera.