“He was gifted with an extraordinary feeling for expression and a rare understanding of the human heart,” I confess, though, that it took me a while to warm to Listening to it now, more familiar with Gluck and his predecessors, it’s undeniably a fine work. A new recording conducted by Achilles has heard of Agamemnon’s report that he was false, and Iphigenia dreads an encounter between them. From 11 in the morning, an enormous crowd pushed against the ticket booths; the opera house had to triple the guards to keep order. The French public found there what it sought in the theatre: dramatic truth, and respect for the proprieties of the stage.”The most extreme view of his achievement is that “Gluck créa “My friend, I recognize you very well!” Gluck retorted.The actresses were spoilt by adulation, and supported by the aristocrats. As A German version was made in 1847 by Richard Wagner, with significant alterations. Achilles then presents his friend Patroclus to Iphigenia, and leads a chorus in her praise, “To this the people will not consent, as they imagine that the blood of Iphigenia must flow, if Diana is to be appeased. Iphigénie en Aulide (deutsch Iphigenie in Aulis) ist eine Oper in drei Akten von Christoph Willibald Gluck auf ein Libretto von François-Louis Gand Le Bland Du Roullet nach Jean Racines Tragödie Iphigénie (1674).
On that account, I never employ trills, passages and cadenzas, with which the Italians are so liberal…“By seeking a melody noble, sensible and natural, together with a declamation following exactly the prosody of each language and the character of each people, to find the means to effect my purpose of producing a music appealing to men of all nations, and eliminating the ridiculous distinctions of national music…”“If the Chevalier wants to commit to deliver six such scores, nothing better,” the director replied; “otherwise, There the matter may have rested, were it not for one fortunate fact: Marie-Antoinette, then dauphine of France, had been Gluck’s music pupil.In autumn 1775, Gluck, his wife, and his niece travelled to Paris. Nothing Danted, so to speak.First Iphigenia is ready to be offered, and entreats Achilles to take no steps towards her deliverance, but to let her die for her people. Based on Euripides via Racine, it tells of Agamemnon’s anguished choice between his daughter and his country, between family love and religion. It was premiered on 19 April 1774 by the Paris Opéra in the second Salle du Palais-Royal and revived in a slightly revised version the following year. Achilles and Clytemnestra rush to save the girl from being sacrificed. The melodies are straightforward and beautiful, the orchestration is gripping, the drama is coherent and the three main roles are captivating personalities and demand great, mature artists.
performed : Académie Royale de Musique, April 12 1774Libretto : M. du Rollet, after Racine and Euripides“From Gluck’s appearance dates modern art; from him come all the great masters who have enchanted the world both during his life, and after his death.” – BarbedetteBased on Euripides via Racine, it tells of Agamemnon’s anguished choice between his daughter and his country, between family love and religion.The gods demand Iphigenia’s life in exchange for the wind that will take the Greek fleet to Troy.Gluck is credited with introducing dramatic truth to opera; his disciples include Mozart, Berlioz, and Wagner. It is by comparison to the Italians that So long as the Richard Wagner, 1847) [114:18] Iphigenia - Camilla Nylund (soprano) Klytämnestra - Michelle Breedt (mezzo) music was beautiful and flattered the ear, all was well.Gluck’s operas were real tragedies, written with nobility, At 17h30, the hall was packed; all the court was present, except the king and Mme du Barry.“While not irreproachable,” Barbedette wrote, “the performance was more remarkable than any the French public had attended.”The first impression was astonishment. The Greeks demanded of the soothsayer Calchas to be told how they might propitiate the goddess. openClassical page for Christoph Gluck's composition 'Iphigénie en Aulide, Wq 40' Marie-Antoinette clapped her hands throughout, and the court were obliged to do likewise.“A great triumph, my dear Christine!” the dauphine wrote to her sister Maria Christine Josepha a week later. people said: “All who love the poetry of Corneille must love the music of
“Did the Greeks have chaconnes?” Gluck asked. especially Italian musicians – were little concerned with local colour and “Simply and naturally my music always strives, as far as it is possible to me, after the highest power of expression and the strengthening of the declamation in the poetry. “On the 19th we had the first performance of With each performance, Bardelette wrote, success grew; soon it was no longer in taste, but a mania. “Let me put on my costume,” the baritone Henri Larrivée (singing Agamemnon) said, “and you won’t recognize me.” The singer did so; that was the only change. Christoph Willibald GLUCK (1714-1787) Iphigenia in Aulis (arr.