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Iphigénie en Tauride

“Rarely does one see acting of such psychological intensity on an opera stage” Opera

 

 

 

 

Composer

Christoph Willibald Gluck

Librettist

Guillard and Du Roullet after Euripides’ drama

Conductor

Louis Langrée

Venue

Lausanne (Théâtre Municipal)

13, 20 March 1994

Probably other dates too. Please let us know if you have any more info on webmaster@simonkeenlyside.info

Performers

Iphigénie : Audrey Michael

Oreste : Simon Keenlyside

Pylade : Marek Torzewski

Thoas : René Massis

Lausanne Opera Chorus and Orchestra

Production

Patrice Caurier : Moshe Leiser

Stage designs : Christian Rätz

Costumes : Etienne Couléon

Notes

This is the same production as staged by the WNO in 1992. It must also have been staged at the Opéra du Rhin, Strasbourg (seemingly with the same cast as 1992) and at the Theatre de Rennes.



What the critics say

Opera, August 1994 (Andrew Clark)

The Opera Lausanne enjoyed two well-deserved triumphs with Iphigénie en Tauride (March 13) and Tosca (April 23), providing further evidence that Renée Auphan knows how to match the right artists to the right operas. The Gluck production, staged by Patrice Caurier and Moshe Leiser and conducted by Louis Langrée, had already been seen in Strasbourg and Cardiff – but the Lausanne performances came up fresh, partly because the cast was largely new.

Audrey Michael, an underrated soprano who is much loved in western Switzerland, proved an ideal tragédienne for the title role. Her voice is not large, but it carries well and is capable of great tenderness and delicacy. She is a refined musician, knowing how to extract maximum emotion within a disciplined line. Barefoot and clad in nothing more than a black gown, she looked like a woman who had suffered much, without losing her dignity or determination.

Simon Keenlyside’s Oreste was no less imposing. His dazed, almost manic expression was matched by strong vocal declamation and excellent French – a devastating combination in his Act 2 outpourings of guilt. Rarely does one see acting of such psychological intensity on an opera stage.Marek Torzewski provided suitably lightweight contrast as Pylade, while René Massis made a formidable Thoas. Langrée’s accompaniments were brisk and lively, while relishing the Elysian beauties of Gluck’s choruses.

With a set comprising little more than two bare interlocking panels, the staging stressed visual simplicity and left ample space for the music. Movement and lighting showed the same quiet attention to detail. This was a production of outstanding unanimity or purpose.

 

 

Extract from Opernglas, May 1994 (C. Hoegl). See below for an English translation by Ursula Turecek

.... Darstellerisch hervorragend und sängerisch überwältigend war Simon Keenlyside (Oreste). Seine Stimme verfügt in jeder Lage über eine selten gehörte Dramatik. Dank außerordentlicher Begabung und weitgehender technischer Perfektion konnte er jede Phrase in ein intelligentes Gesamtkonzept seiner Rolle einordnen und mußte nie wegen stimmlicher Grenzen abbrechen. Seine Interpretation strahlte eine große Konsequenz und Durchdachtheit aus, lief dabei aber nicht Gefahr, die sinnlichen Qualitäten, die Keenlysides Gesang zum Erlebnis machen, zu verdrängen. Da ihm die musikalische Arbeit offenbar sehr leicht von der Hand ging, konnte er seine gesangliche Höchstleistung durch eine beeindruckende schauspielerische Darstellung ergänzen. Das Niveau von Keenlyside dürfte im Hinblick auf die Repertoirebreite, die dieser Sänger abdeckt, derzeit zur internationalen Crème gehören….

...Simon Keenlyside (Oreste) acted excellently and sang overwhelmingly. His voice is in every register dramatic in a way that is rarely to be heard. Due to an outstanding ability and an extensive technical perfection he succeeded in integrating every phrase into an intelligent overall concept and never had to break up because of vocal limits. His interpretation came across as very consistent and elaborate without running the risk of pushing away the sensuous qualities that make Keenlyside’s singing an experience. As he apparently finds musical work no trouble he was able to complete his vocal peak performance with impressive acting. In terms of the size of the repertoire, Keenlyside seems to be among the crème de la crème of international singers.....

 

Elizabeth Forbes, Opera News, June 1994

TML Opera Lausanne's good track record with Gluck - his setting of La Clemenza di Tito was a success a couple of years ago - continued with Iphigénie en Tauride (March 20). The staging by Patrice Caurier and Moshe Leiser was modest, matched by Christian Ratz' simple sets and Étienne Couleon's plain, severe costumes. Attention was focused on the singers and orchestra players, who built up strong dramatic tension until the final scene, when the goddess Diana intervenes and pardons Oreste for having killed his mother, Clytemnestre.

Soprano Audrey Michael made an excellent Iphigénie; her finely focused voice, though not large, rose effortlessly over the orchestra, while stylish phrasing and impeccable diction insured that every thought and emotion were understood. Baritone Simon Keenlyside was equally good as Oreste; his mad scene, when the Furies accuse him of matricide, was powerfully voiced, the duet of friendship with Pylade warmly sung. As Pylade, tenor Marek Torzewski lacked idiomatic French tone but radiated sincerity and good will. Baritone René Massis made a villainous Thoas, while soprano Sharon Coste made a favorable impression with her brief appearance as Diana. The chorus carried out its many important duties in exemplary fashion. Young Louis Langrée, who specializes in eighteenth-century opera, coaxed beautiful playing from the Chamber Orchestra of Lausanne.