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Iphigénie en Tauride
Photo: Clive Barda/ArenaPal
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Composer |
Christoph Willibald Gluck |
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Librettist |
Guillard and Du Roullet after Euripides’ drama |
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Conductor |
Charles Mackerras |
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Venue |
Welsh National Opera Tour, 1992 Cardiff (New Theatre) : 18, 22, 28 May Liverpool (Empire Theatre) : 4 June Southampton (Mayflower Theatre) : 10 June Birmingham (Hippodrome) : 16, 18 June Bristol (Hippodrome) : 23, 26 June Swansea (Grand Theatre) : 2 July Oxford (Apollo Theatre) : 7, 9 July Manchester (Opera House) : 16 July |
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Performers |
Iphigénie : Diana Montague Oreste : Simon Keenlyside Pylade : Peter Bronder Thoas : Peter Sidhom Welsh National Opera Chorus Welsh National Opera Orchestra |
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Production |
Patrice Caurier, Moshe Leiser Stage designs : Christian Rätz Costumes : Etienne Couléon |
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What the critics say
Maurice Dunmore, Opera News, November 1992. http://www.metoperafamily.org/operanews/_archive/1192/reviews.1192.html
The concentrated strength of Gluck's score dominated Welsh National Opera's Iphigénie en Tauride, seen at Birmingham Hippodrome on June 16. Secure, well-toned singing was matched by stylish, taut playing under Charles Mackerras. Tragic intensity pervaded, but the musical shape of this lyric masterpiece was maintained.
Co-directors Patrice Caurier and Moshe Leiser opted for simplicity and timelessness. The setting was no more than two irregularly shaped flats, moved against each other to punctuate the drama, and the costumes had a drab, vaguely contemporary quality. Acting verged incongruously on the melodramatic, with agonized stooping and diagramatic chorus gestures too much in evidence, though the denouement had an overwhelming reality. The happy ending was muted, suggesting further horrors to come in the House of Atreus.
In the title role, Diana Montague characterized with deep conviction, using her vibrant mezzo with ringing authority to convey both her early forebodings about having to sacrifice Oreste and her later harrowing preparation for the deed. Simon Keenlyside's well articulated Oreste, hapless but dignified, was also a major portrayal. Firm supporting performances included Peter Bronder's noble, warmly sung Pylade, Peter Sidhom's worried, brutal Thoas and Alwyn Mellor's lofty Diane. The French text made for communication difficulties in this unfamiliar opera, as enunciation was not crisp.
Opéra international, September 1992 (Elizabeth Forbes on the Cardiff performance):
.... Jeune baryton aigu, Simon Keenlyside trouve en Oreste un emploi idéal, avec un constant souci d’équilibre entre texte et musique...
...The young high baritone Simon Keenlyside found in Oreste an ideal vehicle, caring constantly for a balance between text and music......
Photos: Clive Barda/ArenaPal
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Photo: Clive Barda/ArenaPal