Gluck: Iphigénie en Aulide

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Music reviews of Gluck: Iphigénie en Aulide

Music Review: Gluck's first Iphigenie...
Rating: 4 Stars

This is apparently the only version of this important opera now available (there was a recording by Riccardo Muti, a few years back, which I haven't heard and which is now deleted). It is generally fine but it has several problems which mean that it cannot be regarded as definitive. The most serious drawback of this recording is perhaps the fact that it is not performed on period instruments, causing a severe drop in dramatic power. Lots of the detail of Gluck's simple yet subtle orchestration is lost with a blander, smoother sounding modern orchestra. The orchestra and chorus here also sound underpowered, as if on a chamber scale (although perhaps this is the fault of the recording which has the voices well forward). This can be charming in some of the dance music (the same ensemble was great in Gardiner's recording of Gluck's lighter comic opera, "Les Pelerins de la Mecque") but it makes the drama seem far less involving and detracts from some critical moments: the Greek soldiers hardly sound as if they are baying for Iphigenie's blood at the start of Act 3 and when Clytemnestra sings "Jupiter, lance ta foudre", the crash of the thunderbolt is nowhere to be heard. Whatever the problem, either the use of modern instruments or the recording itself, this version lacks sufficient 'bite'. The biggest advantage of the recording is the cast - the four main characters, the focus of Gluck's drama, are all excellently sung. Jose van Dam is an Agamemnon of great authority and he sounds torn apart in his famous monologue, "O toi, l'objet le plus aimable". Lynne Dawson, with her plangent soprano, is ideal as the naïve, young Iphigenie - no-one could fail to be moved by her touching farewell, "Adieu, conservez dans votre ame", one of Gluck's very finest moments. Anne-Sofie von Otter is the outraged mother, singing her ballad-like aria ,"Par un pere cruel," with great pathos; and John Aler makes a youthful, fervent Achilles. Gardiner's conducting moves the drama onwards but he is seriously hampered by the lack of power from his orchestra. With any luck, Mark Minkowski's wonderful Gluck series will get round to this neglected masterpiece before long (or even Gardiner himself could re-record it with period instruments - I'm looking forward to his new `authentic' recording of "Alceste", also with von Otter). Until then, this version is still worth exploring, since this opera contains music which no Gluck fan should miss. (Brys)

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