Headshot of La Cieca

Cher Public

  • Cicciabella: I nominate Spen as Ceci’s Number One Superfan. Exhibit A: www.parterre.com. 10:46 AM
  • manou: Ciccia – I am with you even though I am the first to complain about French diction. Netrebko is... 10:43 AM
  • Poison Ivy: Jack, I realize it’s “Soviet shit” but it’s also a lot of fun when the... 10:42 AM
  • manou: Dummy, yes – puppet is more Bunraku Butterfly territory. 10:39 AM
  • Cicciabella: I understand basic opera French (Manon Is not a treatise by Sartre), and you and Monty are... 10:37 AM
  • kashania: I’ve only seen the Bondy Tosca after it was trimmed of some of its vulgar excesses, on two... 10:36 AM
  • armerjacquino: Tosca’s leap is done by a dummy rather than a human lady. 10:35 AM
  • kashania: Interesting. Alagna could certainly handle the music, but temperamentally, he’s much more of... 10:30 AM
  • manou: Puppet? 10:30 AM
  • Feldmarschallin: The hookers used to also pull up their stockings which now isn’t the case anymore.... 10:28 AM

Altar ego

An uplifting way to start the week from Our Own Jungfer Marianne Leitmetzerin: a performance of Gluck’s Iphigénie en Aulide under the baton of Riccardo Muti.

Christoph Willibald Gluck: Iphigénie en Aulide

Teatro dell’Opera di Roma
Riccardo Muti, conductor
17 March 2009

Diane – Beatriz Diaz
Agamemnon – Alexey Tikhomirov
Clitemnestre – Ekaterina Gubanova
Iphigénie – Krassimira Stoyanova
Achille – Avi Klemberg
Patrocle – Mario Cassi
Calchas – Riccardo Zenellato
Arcas – Carlos Garcia-Ruiz

Final scene composed by Richard Wagner in 1847

In commemoration of the 300th birthday of Christoph Willibald Gluck on 2 July 1714.

8 comments

  • kashania says:

    Thank you, Marianne and La Cieca. I love the other Iphigénie but have never heard this one.

  • Regina delle fate says:

    You do have to wonder, though, what Muti, with his zeal for conducting things “come scritto” is doing performing the Wagner final scene in 2009. I’m sure I saw a performance there with Urmana as Iphigénie and it was as dull as ditchwater. It sounded like a Gluck performance from the 1950s.

    • Jungfer Marianne Leitmetzerin says:

      That would have been at the Teatro degli Arcimboldi in Milano in December 2002. I haven’t heard it, not being a big fan of Urmana since she decided she was a soprano, so I can’t comment on any change in Muti’s approach seven years later.

      • Regina delle fate says:

        Oh thanks Jungfer! I’m doubtless going senile. I can’t remember anything else about it, though the production might have been a zzzzzz-fest by Yannis Kokkos.

        • Jungfer Marianne Leitmetzerin says:

          I believe it was the same production which I saw in Roma in 2009. It certainly didn’t help make a case for the opera, but the singing was spectacular, and I enjoyed the opportunity to hear all the ballet music.

  • oedipe says:

    And here is Minkowski’s version of Iphigénie en Aulide (Amsterdam, 2011; with Véronique Gens):

  • Satisfied says:

    Katie Mitchell’s production of Trauernacht: sadly underdeveloped and lacking in purpose. Gorgeous music but hardly a scant of a production. Kudos to the wonderful voices this evening, but I’m very disappointed by this less than thought-out production.

    A rare misfire for the festival…

  • DellaCasaFan says:

    Thank you for this wonderful treat, Marianne and La Cieca. Stoyanova’s Iphigenie is a must hear. What a voice, what an interpretation! Others improve as the opera moves on, especially Gubanova with her powerful Act 3 aria. Only Tikhomirov’s voice sounded somewhat dry to my ears and I wish Testé (from the performance Oedipe links to) was casted as Agamemnon. Despite the odd choice for Wagner’s ending, Muti’s musicianship is more than evident here. This had to be a great night in the house.