Cher Public

  • figaroindy: That felt a lot longer than 7 minutes! Heavens so many issues here – the strange choices of “chest voice”... 9:20 AM
  • Lohengrin: http://www.welt.de /kultur/buehne-kon zert/article156704 933/Eklat-in-Bayre uth-Parsifal-ohne- Dirigent.html and many further... 6:28 AM
  • Will: The NY Times is reporting this morning that Andris Nelsons has withdrawn from conducting Parsifal in Bayreuth this summer citing a... 5:40 AM
  • grimoaldo: Thank you Camille and Batty for your kind messages! it is funny how one can make true friends on a forum like this. You are not... 4:02 AM
  • NPW-Paris: It was en economical but mostly effective production, but amplified, so it was hard to judge of the performance. But above all... 2:59 AM
  • Tamerlano: And that Medée with Christie…it& #8217;s an absolutely astonishing performance. 1:53 AM
  • Cicciabella: In the meantime, you can listen to Radvan singing a fantastic “O patria mia”, Go to the ARTE Concert channel on... 1:53 AM
  • Krunoslav: While “old hags” is certainly a pertinent phrase in this thread, Niel, my intervention concerned only the actual... 12:52 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

  • 1
    kashania says:

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

  • 2
    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.

    • 2.1
      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.

      • 2.1.1
        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.

        • 2.1.1.1
          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.

  • 3
    oedipe says:

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

  • 4
    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…

  • 5
    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.