Headshot of La Cieca

Cher Public

  • Cocky Kurwenal: In a positive or negative sense? 7:19 AM
  • thenoctambulist: I was replying to these comments in the article but somehow they could not be quoted:... 5:04 AM
  • thenoctambulist: I beg to differ. Pretty much the in the entire nineteenth century, Rigoletto was not... 5:02 AM
  • thenoctambulist: How did the Borgia go? 4:50 AM
  • manou: Yes, but are American woman you’d see at a state fair in a fair state? 4:14 AM
  • steveac10: From what I can see Friend has a huge blind spot when it comes to American singers who lack... 3:59 AM
  • MontyNostry: Indeed. I was thinking about singers of the role at Covent Garden, but ENO have at least latched... 3:06 AM
  • Rackon: I’m SO happy to hear all the praise for Stephen Powell! I heard him in ’06 or ’07... 12:53 AM
  • coloraturafan: First time I heard Powell live, I was very impressed. It was a May Festival performance of... 12:08 AM
  • la vociaccia: And I’d like to add that in spite of her flaws, Meade is still a seriously major talent,... 11:00 PM

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.