While I agree with Mike Howard's opinion of the musical performances at Idomeneo (The Argus, June 12), I feel I must disagree with his views of the production.
Anyone sitting in the auditorium "ignoring the set", as he suggests, would be missing out on what I found to be a very thought-provoking interpretation of the story.
As to whether the set for Acts One and Two resembled the most intimate parts of a woman's body is not for me to say - it could have resembled the inside of a blood vessel and the inside of a heart.
Each to their own.
I was bowled over by the use of deep, rich colours and did not find it difficult to follow what was happening.
The ballet at the end (indeed the dancing throughout) was spell-binding and the two dancers summing up the relationship between Idamonte and Ilia was one of the most moving things I have ever seen.
I really did not want it to stop.
Perhaps Mr Howard's confusion arises from his misconception that Magdalena Kozena was playing the part of Idomeneo's queen when in fact her role (Idamonte) is Idomeneo's son and heir.
-Tim Nail, Brighton
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