Kurt Kramer has suggested that Varesco was familiar with Calzabigi and therefore the work of Gluck, especially the latter's Alceste much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi. The sacrifice and oracle scenes are similar to Gluck's Iphigénie en Aulide and Alceste. The style of the choruses, marches, and ballets is very French, and the shipwreck scene towards the end of act I is almost identical to the structure and dramatic working-out of a similar scene in Gluck's Iphigénie en Tauride. The libretto clearly draws inspiration from Metastasio in its overall layout, the type of character development, and the highly poetic language used in the various numbers and the secco and stromentato recitatives.
A page from Mozart's original score for Idomeneo, showing cancellations
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