[12] It was mounted at the Châtelet (1868),[13] the Renaissance (1899), and the Opéra-Comique (1900). With Iphigénie, Gluck took his operatic reform to its logical conclusion. Christoph Willibald Gluck, Marc Minkowski, Les Musiciens du Louvre, Mireille Delunsch, Simon Keenlyside, Yann Beuron, Laurent Naouri, Alexia Cousin, Claire Delgado-Boge, Nicki Kennedy - Gluck: Iphigénie en Tauride - Amazon.com Music [23], It was only after he moved to Paris that Gluck finally had the opportunity to set the Tauris story and then only after he had composed another opera on the Iphigenia theme, Iphigénie en Aulide (1774). Michael Ewans has commented, "Gluck's most radical 'reform opera' even dispenses with a love interest. The libretto was written by Nicolas-François Guillard. Styled "a tragic Singspiel", it was staged on 23 October 1781 at the Nationalhoftheater,[5] as the emperor Joseph II had had the Burgtheater renamed after dismissing the Italian singers and their orchestra in 1776 and installing German actors in the theatre. Notes Original images: ca.300dpi, color jpg files approx. Among the major changes was the transposition of the role of Oreste from baritone to tenor and the replacement of the final chorus of Act 2 with an instrumental movement. le malheur en tous lieux suit mes pas, Malgré toi, je saurai t'arracher au trépas. Iphigenia and her priestesses beg the gods to protect them from the storm (Grands dieux! Everyone but Pylades departs, and he closes the act by promising to do everything possible to save Orestes (Divinité des grandes âmes!). Arias | soyez nous secourables). Iphigénie en Tauride, Gluck’s last Parisian work, is part of the lively quarrel between the “Gluckists” and the “Piccinists”.Fans of the Neapolitan composer Piccini praised the superiority of Italian opera over French opera, which Gluck and his admirers considered “the true dramatic musical genre”. [8] According to Irish tenor Michael Kelly's "reminiscences" this production, too, was personally supervised by Gluck. © Opera-Arias.com 2011-2019. The priestesses bring in Orestes, who has been prepared for sacrifice (Chorus: Ô Diane, sois nous propice). [1], In 1781 Gluck produced a German version of the opera, Iphigenia in Tauris, for the visit of the Russian Grand Duke Paul to Vienna, with the libretto translated and adapted by Johann Baptist von Alxinger in collaboration with the composer. [2][3] The revised version was the only opera Gluck wrote in German,[4] and his last work for the stage. Search | Because of its simplicity and heroic themes this work had a particular appeal for 18th-century proponents of Neo-classicism and there were several dramatic versions in the late 1700s, the most famous of which is Goethe's Iphigenie auf Tauris (1787). Operas | [11] It was recorded in 1961 with Montserrat Caballé in the title role,[17] conducted by Antonio de Almeida, in performance at the Teatro Nacional de São Carlos, Lisbon. Instead, in 1765 Gluck composed a ballet, Sémiramis, which has many points in common with it and he reused some of the music from Sémiramis in Iphigénie en Tauride. A chorus of Scythians comes bringing news of two young Greeks who have just been found shipwrecked, demanding their blood (Il nous fallait du sang). The recitatives are shorter and they are récitatif accompagné (i.e. – is Vaness’s shining eloquence in the title role. The recitatives are shorter and they are récitatif accompagné (i.e. "[32] When a critic complained about the contradiction between Orestes' words and the musical accompaniment, Gluck replied: "He's lying: he killed his mother. Écoutez mes décrets éternels). Text by F.L.G. Libretto List | Iphigénie en Tauride was first performed on 18 May 1779 by the Paris Opéra at the second Salle du Palais-Royal and was a great success. First performed in Paris on 18th May 1779, Iphigénie en Tauride was Gluck's last important work, and is his greatest opera. When the meagre results achieved by the new Singspiel programmes[6] led the emperor to back down, getting an Italian opera buffa company recruited again and engaging Lorenzo Da Ponte as his theatre poet,[7] the latter was charged to prepare an Italian translation of Gluck's opera, which was staged in the restored Burgtheater, on 14 December 1783. In order to fulfil the oracle’s prediction, Iphigénie must kill any stranger landing on the shores of Tauride. She and the priestesses perform a funeral ceremony for Orestes (Contemplez ces tristes apprêts). De la Touche's work had been praised for its simplicity, but Gluck and his librettist simplified the drama even further. After Iphigenia and the priestesses depart, Thoas brings in the Greeks, who turn out to be Orestes and his friend Pylades. The opera is highly compact, consisting of four acts rather than five and running slightly over an hour and one-half. [15] Strauss's version was quite often performed at the beginning of the twentieth century and was also used for the work's première at the Metropolitan Opera in 1916,[16] but is by now rarely heard. The libretto was written by Nicolas-François Guillard.. With Iphigénie, Gluck took his operatic reform to its logical conclusion. Misc. Any microphones you Because of its simplicity and heroic themes this work had a particular appeal for 18th-century proponents of Neo-classicism and there were several dramatic versions in the late 1700s, the most famous of which is Goethe's Iphigenie auf Tauris(1787). Iphigenia is drawn to the stranger who reminds her of her brother Orestes (D'une image, hélas! Iphigénie en Tauride Iphigénie en Tauride is a co-production with Seattle Opera. Iphigénie en Tauride (en galego Ifixenia en Táuride) é unha ópera en catro actos con música de Christoph Gluck e libreto en francés de Nicolas-François Guillard.Esta foi a quinta ópera de Gluck para os escenarios franceses. Terms | It was recently revived at the 2009 Festival della Valle d'Itria at Martina Franca. Contact It contributed to a vogue for the Tauris story in the city. . Orestes and Pylades languish in chains. [30] This was so out of the ordinary that, after the first five performances, the authorities of the Paris Opéra added ballet music by Gossec to the finale. Some think that the head of the Paris Opéra, Devismes, had attempted to stoke up the rivalry between Gluck and Niccolò Piccinni, an Italian composer also resident in the French capital, by asking them both to set an opera on the subject of Iphigenia in Tauris. As Donald Grout describes it: "Orestes, left alone after Pylades has been arrested by the temple guards, falls into a half stupor; in pitiable self-delusion he tries to encourage the feeling of peace that descends on him momentarily, singing Le calme rentre dans mon cœur. 18 May 1779, Paris (Opéra) It is perhaps the first occurrence in opera of this device of using the orchestra to reveal the inward truth of a situation, in distinction from, even in contradiction to, the words of the text – a practice that Wagner was later to incorporate into a complete system. Gluck*, Rita Gorr, Ernest Blanc, Nicolai Gedda, Louis Quilico, Orchestre De La Société Des Concerts Du Conservatoire, Georges Prêtre - Iphigénie En Tauride - Extraits ‎ (LP, Album, Mono) La Voix De Son Maître, La Voix De Son Maître: FALP 30192, FALP 30.192: France: 1961: Sell This Version Recycling music was common practice among 18th century composers. Moreau's alleged first name, Jean-Pierre, is reported solely by the Casaglia, Gherardo (2005). the strings and perhaps other instruments are playing, not just continuo accompaniment). trop chérie). "[26], The borrowings Gluck made in this, his last significant opera, are numerous, and many scholars feel that they constitute a "summing up" of the artistic ideals he pursued throughout his career as a composer. Iphigénie en Tauride (French: [ifiʒeni ɑ̃ toʁid], Iphigenia in Tauris) is a 1779 opera by Christoph Willibald Gluck in four acts. Iphigénie en Tauride from Christoph Willibald Gluck. She asks the goddess Diana to help her steel herself for the task (Je t'implore et je tremble). Das Libretto in französischer Sprache stammt von Nicolas François Guillard und basiert auf der Tragödie Iphigénie en Tauride von Claude Guimond de La Touche, das wiederum das Drama Iphigenie bei den Taurern (griechisch Ἰφιγένεια ἐν Ταύροις) des kla… In 1763 a "reform opera" on the subject by Tommaso Traetta with a libretto by Marco Coltellini, Ifigenia in Tauride, appeared on the Viennese stage. She prays to Diana to reunite her with Orestes (Ô toi qui prolongeas mes jours). The ultimate source of the drama was Euripides' tragedy Iphigenia in Tauris. Es ist ein schwarzer, perspektivisch sich verjüngender Raum, ohne Ein- und Ausgänge, eine Art Höhle, Höllenschlund oder Abgrund. Romantic interest is peripheral to Greek drama, but Iphigénie en Tauride, 'the first opera without love to exist in our theatres'[25] must be one of the few major operas to forego the theme altogether. With Iphigénie, Gluck took his operatic reform to its logical conclusion. DISCOVER . Iphigénie en Tauride (Iphigenia in Tauris) is a 1779 opera by Christoph Willibald Gluck in four acts. While she wields the knife, Orestes exclaims Iphigenia's name, leading her and the priestesses to recognize him and stop the ritual slaughter. " eBook Iphigenie En Tauride " Uploaded By R. L. Stine, iphigenie en tauride deutsch iphigenie auf tauris ist eine oper laut partitur tragedie in vier akten von christoph willibald gluck die 1779 an der pariser oper uraufgefuhrt wurde iphigenie en tauride french ifieni toid iphigenia in tauris is a … The king enters wildly, ordering his guards to seize Orestes and promising to sacrifice both him and his sister. At that moment Pylades enters with a band of Greeks, cutting down Thoas where he stands. Iphigénie en Tauride (Iphigenia in Tauris) is an opera by C.W. Dieux! mon ami, j'implore ta pitié!). Gluck's Iphigenie En Tauride. After asking them for what purpose they came (they have come to retrieve Diana's statue and return it to Greece, though they do not divulge this), Thoas promises them death and has them taken away. A surprise happy ending is cradled in Gluck’s beautiful music and masterful setting of Iphigénie en Tauride. The resulting rout of the Scythians by the Greeks is halted by a dea ex machina appearance of Diana, who commands the Scythians to restore her statue to Greece (Arrêtez! Das Bühnenbild unserer Neuproduktion Iphigénie en Tauride wird in den Rezensionen zumeist als schlichter schwarzer Raum beschrieben – doch das ist nur der erste Eindruck, beim genaueren Hinblicken erweist er sich nämlich bald als spektakulär. Watch movie and read libretto and translation of O malheureuse Iphigénie, an aria for soprano or mezzo from the French opera Iphigénie en Tauride by Christof von Gluck. The libretto was written by Nicolas-François Guillard. Dec 3, 5, 7 & 9 2014. COMPOSERS: Gluck LABELS: Sony WORKS: Iphigénie en Tauride PERFORMER: Carol Vaness, Giorgio Surian, Thomas Allen, Gösta Winbergh; Chorus & Orchestra of La Scala, Milan/Riccardo Muti CATALOGUE NO: S2K 52492 DDD The glory of this new Iphigénie – are we on the threshold of a Gluck renaissance? Iphigénie en Tauride (Iphigenia in Tauris) is an opera by Christoph Willibald Gluck in four acts. They oblige, calming the weather, but Iphigenia is tormented by dreams of the death of her parents (Agamemnon and Clytemnestra) and of the murder of her brother (Orestes) by herself. Email Signup. City Recital Hall Sydney. libretto by Nicolas-Francois Guillard. The drama is ultimately based on the play Iphigenia in Tauris by the ancient Greek dramatist Euripides which deals with stories concerning the family of Agamemnon in the aftermath of the Trojan War. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. However, the most important as far as Gluck is concerned – because it formed the basis of Guillard's libretto – is Guimond de la Touche's spoken tragedy, which premiered in Paris on 4 June 1757. The libretto is in French and written by one Nicolas-Francois Guillard. Romantic interest is peripheral to Greek drama, but Iphigénie en Tauride , 'the first opera without love to exist in our theatres' [ 25 ] , must be one of the few major operas to forego the theme altogether." Reluctantly, she agrees to spare Pylades instead and sends him to carry her message to Electra. Iphigenia sends Orestes away and with her priestesses laments the destruction of her country and the supposed death of her brother (Ô malheureuse Iphigénie). The ultimate source of the drama was Euripides' tragedy Iphigenia in Tauris. Lebland du Roullet and L.T. A minister of the sanctuary comes to remove Pylades. He tells her not to lament him, but to strike, telling her it is the will of the gods. But on her exit, Orestes insists that Pylades agree to switch places with him as Orestes cannot bear the thought of his friend's death and sees dying as an escape from his own madness; Pylades, on the contrary, is glad at the thought of dying so Orestes can live (Duet: Et tu prétends encore que tu m'aimes and aria for Pylades: Ah! Orestes half falls asleep (Le calme rentre dans mon coeur), but he is tormented by visions of the Furies, who wish to avenge his slaying of his mother (whom Orestes killed for murdering his father Agamemnon). Nicolas François Guillard (nach Euripides) Premiere. It was his fifth opera for the French stage. Its libretto, by Nicholas-François Guillard, is the finest poem set by the composer, and the opera as a whole comes as close as possible to the ideal Gluck sought, of a modern revival of the spirit of Greek tragedy. The libretto was written by Nicolas-François Guillard. [9] The German edition was revived in Berlin at the former Königliches Nationaltheater in the Gendarmenmarkt on 24 February 1795,[10] while Da Ponte's translation was chosen for the London first performance at the King's Theatre on 7 April 1796. As Diana is carried back into the clouds, everyone sings a concluding chorus of rejoicing at having the favor of earth and heaven restored to them (Les dieux, longtemps en courroux). Both men readily agree, and Iphigenia chooses Orestes to survive. Libretto. Coltellini's and Traetta's ideas on how to reform opera were similar to Gluck's and Gluck himself conducted the work in 1767. There is no overture; the opera begins with a short passage evoking calm before turning into a depiction of a great storm at sea. ; preface signed "Dr. H.M. Schletterer"--p. 3-6. It was brought to the stage of the present opera house in Paris on 27 June 1931 with the aid of the Wagner Society of Amsterdam and with Pierre Monteux conducting the orchestra". The story of Iphigénie en Tauride is taken from classical antiquity, and the setting is Tauris, after the Greek conquest of Troy. Recycling was thus a way of saving some of his most outstanding musical ideas. In agitation, she asks of the fate of the son, and Orestes says that the son found the death he had long sought, and that only their sister Electra remains alive. [11] The original French version eventually proved to be one of Gluck's most popular composition in Paris: "it was billed on 35 dates in 1779, and it went on to enjoy more than four hundred representations in 1781–93, 1797–1808, 1812–18, 1821–23, 1826–28, and 1829. When Iphigenia returns, Orestes insists that she reverse her decision, threatening to kill himself before her eyes if she does not. Iphigenie en Tauride Metropolitan Opera; 3,800 seats, $295 top Production: A Metropolitan Opera presentation of an opera in four acts by Christoph Willibald Gluck. Beginning work in 1778, Gluck collaborated closely with the young poet Nicolas-François Guillard, who based his libretto on Guimond de la Touche's play. [24], Iphigénie en Tauride was an innovative libretto in the history of opera. Iphigénie en Tauride, Wq.46 (Gluck, Christoph Willibald) Movements/Sections Mov'ts/Sec's: 4 Acts Composition Year 1779-05-18 in Paris: Theatre of the Palais-Royal Genre Categories: Non c'è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far Iphigénie en Tauride draws all of Gluck’s opera reforms to their natural conclusion and a work of great power and beauty is the result. Iphigenie in Aulis = Iphigénie en Aulide, tragédie opéra : lyrische Tragödie in drei Akten U.S. RISM Libretto Project. 3340 by 4240 pixels. Besetzung der ersten Aufführung, Paris 19 April, 1774: AGAMEMNON. The 26 February performance was transmitted live in movie theaters around the world as part of ". 46Iphigénie en Tauride (Iphigenia in Tauris) is an opera by C.W. Iphigenia wonders how she can ever carry out the killing of Orestes, since somehow her soul shrinks from the thought of it. It was his fifth opera for the French stage. Performed by the singing-actors of the USC Thornton Opera program in cooperation with the USC Thornton Symphony, this is a rare opportunity to see a late eighteenth century work that revolutionized the operatic art form. Iphigenia enters and, although the two do not recognize each other, Orestes sees an astonishing likeness between her and the slain Clytaemnestra seen in his dream. It was composed during Gluck's lengthy stay in Paris and met with immediate success. However, the most important as far as Gluck is concerned – because it formed the basis of Guillard's libretto – is Guimond de la Touche's spoken tragedy, which premiered in Paris on 4 June 1757… Composers | Gluck in four acts. [14], In 1889 Richard Strauss made a new arrangement of the work for the publisher Adolph Fürstner, which was later staged in Weimar at the Hoftheater on 9 June 1900, under the Goethe-inspired title of Iphigenie auf Tauris. Orestes berates himself for causing the death of his dear friend (Dieux qui me poursuivez), but Pylades assures him that he does not feel dispirited because they will die united (Unis dès la plus tendre enfance). But the accompaniment, with a subdued, agitated, sixteenth-note reiteration of one tone, and with a sforzando accent at the first beat of every measure, betrays the troubled state of his mind, from which he cannot banish the pangs of remorse for his past crime. An 1805 French edition of De la Touche's play is accessible for free online in, "Salentonline.it – il portale del Salento", Portrait of the opera in the online opera guide www.opera-inside.com, https://en.wikipedia.org/w/index.php?title=Iphigénie_en_Tauride&oldid=987090813, Articles with Italian-language sources (it), Wikipedia articles needing page number citations from November 2018, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Music for the Furies in act 2 from the ballet, Some music in the climactic final scene of act 4 was taken from, Cumming, Julie E., "Gluck's Iphigenia Operas: Sources and Strategies" in, This page was last edited on 4 November 2020, at 21:17. The revival of this production was made possible by a gift from Barbara Augusta Teichert. Although the storm dies down, Iphigenia remains troubled by a dream she has had, in which she envisioned her mother Clytaemnestra murdering her father, then her brother Orestes killing her mother, and finally her own hand stabbing her brother. Their main innovations were to begin the opera with a storm (which would have been more difficult in a spoken drama) and to delay the recognition until the finale. Iphigenia, sister of Orestes, is the high priestess of Diana in the temple of Tauris, having been transported there magically by the goddess when her father Agamemnon attempted to offer her as a sacrifice. It was his fifth opera for the French stage. Iphigénie en Tauride (deutsch: Iphigenie auf Tauris) ist eine Oper (laut Partitur Tragédie) in vier Akten von Christoph Willibald Gluck, die 1779 an der Pariser Oper uraufgeführt wurde. de Tschudy, based on and partly translated from Calzabigi's Italian libretto… Iphigénie en Tauride is being recorded live for CD release on the Pinchgut Opera label, and is being broadcast almost live on ABC Classic FM on Sunday 7 December. [28] Most of the reused music is Gluck's own, culled from his earlier operas or from his ballet Sémiramis. She also issues pardon to Orestes for murdering his mother, sending him to be king over Mycenae and bidding him restore Iphigenia to her country. The normal dance movements that one finds in the French tragédie en musique are almost entirely absent. [15], As for the Da Ponte Italian version,[18] there was a "memorable" staging at the Teatro alla Scala in 1957, with Nino Sanzogno conducting the orchestra, Luchino Visconti as the director and Maria Callas in the title role.[19]. Thoas, King of Tauris, enters. Iphigénie en Tauride (Iphigenia in Tauris) is an opera by Christoph Willibald Gluck in four acts. Price on front cover: 25 Pf. In at least one case, however, an aria in Iphigénie en Tauride is actually Gluck borrowing from himself borrowing from Johann Sebastian Bach. [22] De la Touche's play was such a success that it was transferred to Vienna in 1761. Iphigénie en Tauride was first performed 18 May 1779 by the Paris Opéra at the second Théâtre du Palais-Royal. (The custom of the Scythians, who inhabit Tauris, is to ritually sacrifice any who are shipwrecked on their shores). The happy reunion of sister and brother is cut short at news that Thoas is coming, having heard that one of the captives was released and intent on the blood of the other. [26], The opera contains "Gluck's most famous piece of psychological instrumentation",[30] "Le calme rentre dans mon cœur". Gluck may have wanted to compose his own reform opera on the Tauris theme but Traetta's opera made this impossible for the time being. Opera in 4 acts; Libretto: A. du Congé Dubreuil, after Euripides; First performed : Académie Royale de Musique (2 e salle du Palais-Royal), Paris, 22 January 1781; Piccinni’s best-known opera today, though, is a historical footnote. She tells Orestes and Pylades she can persuade Thoas to save one of them from the sacrifice (Je pourrais du tyran tromper la barbarie) and asks the one who is spared to carry word of her fate to her sister Electra in Argos. Privacy | 1073 and 1075, the original version was revived at the Metropolitan Opera in the 2010/11 season. Home | IPHIGÉNIE EN TAURIDE. [27] Gluck knew that his earlier Italian-language operas and the ballets and opéras comiques he had written for Vienna were never likely to be played again, whereas the French had a tradition of keeping successful operas in the repertory. One, pp. About | "[30], This article is about the opera by Gluck. Iphigénie en Tauride, Wq. The priestesses sing a hymn to Diana as they lead Orestes to the altar (Chorus: Chaste fille de Latone). Iphigenie in Tauride dates from 1778, making it Gluck's next to last opera. Informazioni Iphigénie en Tauride Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d'opera in lingua italiana. Iphigénie en Tauride was an innovative libretto in the history of opera. Gluck in four acts. This is a complete list of Gluck's borrowings:[29][30], Unusually for a French opera, Iphigénie contains only one short divertissement[31] (an opportunity for dance and spectacle): the chorus and dance of the Scythians in the "Turkish" style at the end of the first act. She questions him further, asking him the fate of Agamemnon and all Greece, and he tells her of Agamemnon's murder by his wife, and the wife's murder by her son. Duets | It was his fifth opera for the French stage. He too is obsessed with dark thoughts (De noirs pressentiments): the oracles, he tells her, predict doom for him if a single stranger escapes with his life. The libretto was written by Nicolas-François Guillard. It was his fifth opera for the French stage. In the event, Piccinni's Iphigénie en Tauride was not premiered until January 1781 and did not enjoy the popularity that Gluck's work did. It was his fifth opera for the French stage. Michael Ewans has commented, "Gluck's most radical 'reform opera' even dispenses with a love interest. heard the voices of lphigenia (Iphigénie) and her priestesses asking for the protection of the gods. The production of Iphigénie en Tauride was made possible by a generous gift from Mr. and Mrs. Howard Solomon. Singers | Find The Metropolitan Opera on Facebook (opens new window) Find The Metropolitan Opera on Twitter (opens new window) Find The Metropolitan Opera on Instagram (opens new window) Contribute | The libretto is by Nicolas-François Guillard and Roullet, who put together one of the finest librettos in the history of opera. Scene: The entrance hall of the temple of Diana in Tauris. For the opera by André Campra, see, Krause, p. 14, Rushton, p. 14, Holden, p. 371, "despite the phenomenal success of [Mozart's, Tim Carter, "Da Ponte, Lorenzo", in Sadie, Vol. Pylades instead and sends him to carry her message to Electra Mrs. Howard.! 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