IPHIGÉNIE EN AULIDE — IPHIGÉNIE EN TAURIDE BY GLUCK
- Recording Date 11 July 2024
- Languages Sung in French with German subtitles
- Realisation Andy Sommer
- Co-production ARTE France, Bel Air Media
- Video available for replay until Sunday 11 January 2026
- Photo © Monika Rittershaus
BROADCASTED ON
IPHIGÉNIE EN AULIDE
TRAGIC OPERA IN THREE ACTS
LIBRETTO BY MARIE FRANÇOIS-LOUIS GAND LE BLAND KNOWN AS BAILLI DU ROULLET, BASED ON THE TRAGEDIES IPHIGENIA AT AULIS BY EURIPIDES (405 B.C.) AND IPHIGENIA BY JEAN RACINE (1674)
PREMIERED ON 19 APRIL 1774 AT THE ACADÉMIE ROYALE DE MUSIQUE (SALLE DES TUILERIES), PARIS
IPHIGÉNIE EN TAURIDE
MUSICAL TRAGEDY IN FOUR ACTS
LIBRETTO BY NICOLAS-FRANÇOIS GUILLARD, BASED ON THE TRAGEDIES IPHIGENIA IN TAURIS BY EURIPIDES (414–412 B.C.) AND CLAUDE GUIMOND DE LA TOUCHE (1757)
PREMIERED ON 18 MAY 1779 AT THE ACADÉMIE ROYALE DE MUSIQUE (SALLE DES TUILERIES), PARIS
NEW PRODUCTION OF FESTIVAL D’AIX-EN-PROVENCE
A COPRODUCTION WITH GREEK NATIONAL OPERA, OPÉRA NATIONAL DE PARIS
GRANDE DONATRICE D’EXCEPTION DU FESTIVAL D’AIX-EN-PROVENCE
WITH THE SUPPORT OF CERCLE ETEL ADNAN POUR LA MÉDITERRANÉE
Alain Dumandel, Claudine Mussawir, Hubert Rollet,
Didier Roussell, Bernard Traversa, Caroline Tyranowicz
Alain Dumandel, Claudine Mussawir, Hubert Rollet,
Didier Roussell, Bernard Traversa, Caroline Tyranowicz
A decade before the French Revolution, in a country riven with bitter polemics, Gluck throws the history of opera into confusion by raising it to an unheard-of peak of tragic intensity. Experiencing his two Iphigenias in a single evening goes beyond the norms of operatic life: it is to enter the very heart of the curse on the family of King Atreus of Mycenae, to follow a logical destiny through a cycle of endless violence. How does the victim of Aulis become the murderess of Tauris? That is the burning question that Dmitri Tcherniakov must adress, plunging the spectator into the midst of a household haunted by the dead and setting in train an implacable process of dehumanization, with parallels to our world today. Conducting Le Concert d’Astrée, Emmanuelle Haïm drives this dual tragedy to the summit of its expressive power, leaving humanity to be translated through arias of the utmost poignancy. It is the exciting, magical Corinne Winters, supported by the finest French singers of our time, who takes on the daunting task of interpreting this double role.