Search - Montague, Aler, Allen :: Gluck: Iphigenie En Tauride

A voice teacher and early music fan

George Peabody | Planet Earth | 07/19/2009

(5 out of 5 stars)

"IN TRANSFORMING THE FRENCH 'TRAGEDIE LYRIQUE' CHRISTOPH W. GLUCK REACHES HIS PEAK!

After Gluck (1714-1787) had thoroughly revitalized Italian 'opera seria', he devoted his energies to the reform of the French 'tragidie lyrique' illustrated in his operas 'Orphee et Eurydice' and 'Iphigenie en Tauride', both staged in Paris in 1774.



With 'Iphegenie' Gluck took the final step in his operatic reform. There are no longer any recitatives; there are dramatic scenes interspersed with arioso-like structures. The arias hardly have self-contained or conclusive forms; rather they are scenes portraying an emotion. All of this makes for a truly enjoyable group of lovely and highly emotional melodies that seem to go on and on and on.



The story taken from classical legend and closely linked to the events of 'Iphigenie en Aulide', takes place after the conquest of Troy by the Greeks. The opposition between civilized and uncililized, between high-minded or tortured morality and barbarism exist throughout the opera. This opera really presents a drama of human passions.



John Eliot Gardiner has assembled an outstanding group of singers, who very capably perform their roles to perfection. Diana Montague (mezzo-sop) as Iphigenie sings with a rich and full tone quality, but also presents a 'lightness' that mezzos do not always 'pull-off'. She sings one of the most exquisite arias near the end of Act II 'O Malheureuse Iphegenie' (O wretched Iphigenie), in which she bemoans the loss of her family.



John Aler (tenor) as Pylade is simply marvelous in this opera, with a true operatic sound; it is not surprising that John Nelson chose him five years later to play Jupiter in his award-winning production of Handel's 'Semele'. Thomas Allen (baritone) plays a very exciting and masculine Orestes, and he and Aler sing two stunning duets near the end of Act III; my favorite being 'Et tu pretends encore...', in which they argue rather violently about who will perform a dangerous mission. Rene Massis (bass-baritone) as Thoas, sings his very lively opening aria with great power and gusto.



The Orchestra and Monteverdi Choir (not a lot to do, sadly)added their expertise throughout the production, the choir in small doses. I simply love listening to this opera. Gluck seems to have a gift for lovely melodies that continue forever in his operas.



Gardiner, to my mind, always manages to please. This recording was made in 1985, which was somewhat early in his career. The liner notes are quite informative and the libretto is in English as well as French."