What Iph?

What “iph” the unfortunately sacrificed Iphigenia had been rescued by the goddess Diana? Such is the deus ex machina invented by Euripides. In Gluck’s opera, the most riveting scenes are the opening and closing ones when Diana (sung by the lovely Julie Boulianne) descends from the heavens. Otherwise, nothing much happens in the ochre and roseate temple below. It takes two and one half hours for Iphigenie to recognize the captured Oreste, mainly because neither tells the other their name. (How long did it take Sieglinde and Siegmund to find out their siblinghood? And to fall in love as well? And accompanied by stirring music?) Does this sound boring? Well, if you are a fan of Gluck’s music, stripped as it is of drama and vocal flourishes, it won’t be. One must listen strenuously for the revelation of character in this music. If you are passionate about high drama and vocal fireworks in your opera, this will not thrill you.

Vocally, the male voices stole the show at Monday’s performance when Susan Graham, taken ill, was replaced by Elizabeth Bishop. Ms. Bishop did her best in a committed performance and became more audible after an initial period of warming up; but her somewhat hard-edged tone was no threat to Susan Graham’s ownership of the role, as remembered from a couple years earlier.

Opera’s enduring treasure Placido Domingo showed his chops as Oreste and Paul Groves was a magnificently lyrical and moving Pylades, ready to sacrifice his life for his friend. It takes about an hour for them to resolve which one will die for the other.

The all female chorus sang beautifully, although not with the customary excellent diction. One was grateful for the supertitles. Women dancers repeated stylistic gestures and spun around like Turkish Sufis.

Lovely Diana reappears at the end to bring the drama full circle. Her descent frames the action and provides some missing excitement.

--Meche Kroop for The Opera Insider