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Generally regarded as Gluck's greatest achievement in French opera, Iphigénie en Tauride premiered in Paris in 1779 and was an immediate success. Today, however, it is rarely performed, and the reasons for its neglect are probably manifold. They range from a contemporary preference for the thrillingly passionate arias of the 19th-century operatic tradition to a widespread lack of familiarity with the myths on which the work is based. Its narrative also eschews the familiar theme of romantic love in favour of an exploration of family loyalty and the complex Greek concept of fate. Gluck's opera draws on the Greek playwright Euripides' treatment of the myth of the cursed house of Atreus. In this version of the story, Iphigénie, who was to have been sacrificed to the gods by her father, Agamemnon, is rescued by Diane and transported to Tauris. There, as a priestess in the temple, she is expected to sacrifice strangers captured by the island's inhabitants. Christine Rice is excellent as the exiled princess, combining vocal richness and expressive sensitivity with a strong sense of the character's emotional anguish. Jacques Imbrailo brings equal intensity to the role of her brother, Oreste, capturing his torment and vulnerability through finely nuanced singing. As Pylade, his friend and fellow castaway, Nick Pritchard makes an equally impressive contribution. The duets between Oreste and Pylade are particularly moving, their voices blending beautifully while expressing the depth of a friendship founded on loyalty and devotion even as they face the prospect of death. The chorus of priestesses also delivers disciplined, well-integrated singing, adding to the opera's atmosphere of foreboding. Lyndsey Turner's direction creates a series of simple, stark tableaux that reflect the bleak realities of the story, while Tim Mitchell's lighting design is wonderfully dramatic, heightening the work's tension and emotional impact. This production demonstrates that Gluck's meditation on these dark classical themes has much to offer modern audiences. The clarity of the storytelling, the emotional force of the performances and the striking visual approach make this 18th-century opera both accessible and compelling. It makes a persuasive case for restoring a neglected work to the operatic repertoire.
Rated: ★★★★
Reviewed by J.C.
Photo by Helen Murray
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