Idomeneo is a tyro's opera: thrillingly ambitious, occasionally awkward and never easy to bring off. But it is a pivotal work. Nowhere else, with the exception of The Magic Flute, does Mozart give us a more tantalising glimpse of himself than here, in the life-and-death tensions between Idomeneo and his son Idamante. So strong is Mozart's identification with the latter than in some ways the opera might be called Idamante, or even Leopold and Wolfgang, for this is a story about a maturing prince who must prevail over his father or perish.

In Luc Bondy's sparely conceived production, the drama takes place amid restless elemental forces. Changing seascape backcloths shape and reflect the moods, with the action taking place on a shingle beach. But the ultimate elemental force in Idomeneo is Mozart, and Bondy's production allows human conflict and emotion to hold the spotlight.

Appropriately, La Scala has gathered a new generation of artists for this new Idomeneo, which marked not just the start of the Scala season but the inauguration of the post-Riccardo Muti era. For the first time in nearly 20 years, it was not Muti who presided over the Scala's showcase night but a foreigner, England's Daniel Harding. Harding's approach and sound are worlds away from his predecessor's, but his commitment was fearless and he received a tremendous ovation from the ultra-critical Milanese.

In a cast without either established megastars or serious weakness, Emma Bell's Elettra was rightly the most enthusiastically received, a reflection of Bell's developing range and command. Steve Davislim impressed as Idomeneo, and Camilla Tilling was an unusually interesting Ilia. But the admirable Monica Bacelli never let you forget that at the centre of this very special opera stands Idamante, and thus Mozart himself.

· In rep until December 22. Box office: 00 39 02 860 775.