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Watch: Idomeneo, Act I (Met Opera on Demand, 1982); La clemenza di Tito, Sestos first-act aria Parto, parto, ma tu ben mio (Met Opera on Demand, 2012)

Questions:
1.    How does Mozart differentiate the two female heroines of Idomeneo in their introductory arias?

2.    What are the main differences between the forms of the arias from Idomeneo and that from Tito?

3.    In what ways does the first act of Idomeneo incorporate ideals of Glucks reform operas?

Please average 550 words for each of the three questions.

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