Iphigénie in Tauride

Iphigenie

Iphigénie in Tauride: I WILL return to the heart calm!”

The history of opera, like all history in general, It is peppered with moments in which there have been major changes. Changes that have influenced decisively after. One of those turning points are the premieres of Orpheus and Eurydice and Iphigénie en Tauride, both works Gluck. He settled on them so-called "reform" that was cemented with Iphigénie.
This operatic movement raised the need to give more importance to the plot drama that other elements that until then had more weight, as they were the more or less scenic exuberance or excessive egocentric and prominence of voices. It is therefore advocated, for an opera in which all elements, music, dance and scenography service were to inspire the deepest feelings and thoughts of the public.

Iphigénie is a masterpiece. It is the compendium of traditions marked by Handel or Rameau and an inheritance, mode influences, a Mozart o Wagner. It is the revolution of passions, of the deepest feelings of pain, reunions and fraternal loyalties. Is, definitely, the highest expression of Greek tragedy.
Iphigénie is a remote work of the conventions of the time. In it the traditional romantic entanglements and do not develop, It is not a work of action if it contains minor feature mood. It is taken over by a highly dramatic arias and austerity, a beauty and dignity do not suggest the absence of any other element I, plot or character. Every moment of the development of the artwork traps for itself with a force that only such a decidedly beautiful music can get.

A work that arises about a family tragedy overflowing, where a father kills his daughter, The mother then kills father, the son avenges his father by killing his mother and where her daughter was obliged to kill that brother, How much inner dispute may eventually lead?
So begins this work. With music that reflects violent and masterful way the inner restlessness of Iphigénie.

The opera revolves around two main ideas. One emotional abyss of Iphigénie caused by the traumatic disappearance of his family and almost obliged to kill his little brother. On the other hand, the loyal friendship of Pylades and Orestes that leads them to be willing to sacrifice for each other.
On these two premises so dramatic is emotionally on the Canadian set designer Robert Carsen He has created a scenography, with some evocative elements of its recently held Katia Kabanova. This time he has created a scenario eloquent soberness. Everything is black on stage. Only flashes of the sword with which Iphigénie must kill his brother, light up the stage.
A scenic nudity achieved so elegantly than any other element that had arisen would have left over or, how much less, distracted. The scenic simplicity reflects well, through small details, all that is found only in the minds of Iphigénie atromentada. One of the most dramatic moments and brilliantly solved Carsen load, It is knowledge Iphigénie by the death of his parents. At that moment, the names of these, Agamemnon y Clitemestra, that they appeared written on the wall, Iphigénie are deleted while also clears his in a tragic and painful symbolism accompanied by a delicate, shuddering regret.
Rober Carsen has led with its scenery to achieving the sharpest reflections using for this modest elements and small number. This capability is only to the extent of the best, Masters.

The musical director, Thomas Hengelbrock, manages to extract the Titular Orchestra of the Teatro Real, less accustomed to the classics, crystal clear sound, eloquent and bright. At the same height of the Orchestra it has been at this time the Coro. Not only because of its location in the pit, but so delicately reinforce the content and sober drama floating in the room.
Before beginning the representation, Mortier informs the public of the havoc that the flu has those days among singers. But fortunately the flu has failed, this time, with the professionalism of the protafonista Trio.
Susan Graham It is the perfect Iphigénie. After overcoming a problem at the beginning of representation, He gave us a voice powerful and delicate, with a piano that perfectly conveyed the pain of a Iphigénie suffering losses in the deep. His dramatic ability is moving. It provided sublime moments and was one of the winners of the night.
Placido Domingo triumphed again to his audience. You could tell in his voice the aftermath of the flu and I'm afraid also of time. But his timbre remains one of the most beautiful. Deploys energy on the difficult scenario to match demand and no scenic fazed him (not as other ...).
Paul Groves he played brilliantly one Pylades who had great moments in duets with Oreste and solo. With a very good phrasing and a powerful voice full of nuances and sensitivity.
Frank Ferrari He was the only one who out of tune with the rest of the cast. A voice muffled and dull. Very nice young national voices. Susana Cordón, Anna ALAS i Jové Y Maite Alberola. Faced with such protagonists of vocal presence, his performance, though brief, was a high altitude completing the cast.

By last, well also directing actors. Given the apparent chaos that occurred sometimes on stage, everything was in place, at the time the actors performed perfectly studied and coordinated movements that effect were getting results and Beauty. all, emphasized by subtle lighting by Carsen and Peter van Praet, which it serves to further magnify any of the characters and to emphasize this great drama.

Christoph Willibald Gluck (1714-1787)
Lyrical tragedy in four acts in French.
Libretto by Nicolas-François Guillard, based on the homonymous tragedy of Claude Guymond de la Touche (1757) and Euripides (412 a.c.).
Premiered at the Academy Royale de Musique in Paris on 18 May 1779.
New production of the Teatro Real from the Lyric Opera of Chicago, la Royal Opera House, Covent Garden in London and the San Francisco Opera.
D. musical: Thomas Hengelbrock
D. scene: Robert Carsen
Scenography and costumes: Tobias Hoheisel
Lighting: Robert Carsen, Peter van Praet
Choreography: Philippe Giraudeau
D. Choir: Andrés Máspero
Susan Graham, Placido Domingo
Paul Groves, Frank Ferrari, Maite Alberola
Teatro Real in Madrid