France Pageant d’Aix-en-Provence [4] – Gluck, Iphigénie en Aulide and Iphigénie en Tauride: Soloists, Le Choeur d’Astrée (refrain director: Richard Wilberforce), Le Live performance d’Astrée, Emmanuelle Haïm (conductor). Grand Théâtre de Provence, Aix-en-Provence, 11.7.2024 (MB)
Manufacturing:
Director, Set designs – Dmitri Tcherniakov
Costumes – Elena Zaytseva
Lighting – Gleb Filtschinsky
Dramaturgy – Tatiana Werestchagina
Solid:
Iphigénie – Corinne Winters
Agamemnon – Russell Braun
Clytemnestre – Véronique Gens
Achille – Alasdair Kent
Calchas – Nicolas Cavallier
Diane – Soula Parassidis
Patrocle – Lukáš Zeman
Arcas / Minister / Scythian – Tomasz Kumięga
Oreste – Florian Sempey
Pylade – Stanislas de Barbeyrac
Thoas – Alexandre Duhamel
Priestess – Laura Jarrell
It’s not daily one has alternative to see Iphigénie en Aulide, not to mention in tandem with Iphigénie en Tauride. Even I, fervent Gluckian that I be, had by no means seen the previous staged. That is, in fact, simply what a significant competition must be doing: one thing that can’t readily be replicated in a home season. Enlisting Dmitri Tcherniakov, one among at present’s most sought-after opera administrators, underlined the Pageant d’Aix-en-Provence’s intent. It was, by any requirements, a memorable event, even when Tcherniakov’s manufacturing proved a bit extra simple, even standard – I can not think about why some booed the primary opera – than one may need hoped for, and the interval devices of Emmanuelle Haïm’s Live performance d’Astrée usually lacked the dramatic dedication both of the extra vibrant interval ensembles (similar to Raphaël Pichon’s Pygmalion the next night) or of contemporary orchestras.
Tcherniakov’s Paris Troyens (evaluate right here) was a landmark staging, its twin presentation of warfare and therapeutic aftermath within the two components of Berlioz’s opera forged a strong, provocative spell that has but to recede. Right here, in a dramatic œuvre of nice significance to Berlioz and Wagner, the uncharitable would possibly say there was a bit an excessive amount of retreading of floor, if in near-reverse, warfare naturally coming second and introduced as such on the shut of Iphigénie en Aulide, the curtain starkly saying ‘GUERRE’. To be honest, although, the Tcherniakov therapeutic flip, which after his fitful Ring appeared to many people to have run its course, is barely hinted at within the group of refugees amongst whom Iphigénie (en Tauride) stays behind. Trauma itself stands rightly, strongly within the foreground, from the second drama’s announcement of casualties over a era of warfare (‘une vingtaine d’années plus tard’, we’re knowledgeable as we re-enter the theatre after the only, dinner interval). Oreste’s shellshock is horrifying all through, rendering his emergent friendship – maybe on this situation, it may be not more than that – with Pylade a mandatory, if extremely restricted, solace.
Tcherniakov, as normal, supplies his personal set design, a constructing define that may serve, each intact and never, for a variety of dramatic functions — and to my thoughts did so very nicely. (It likely depended the place one was within the theatre, however I heard complaints opposite to my expertise, however undoubtedly real, from each visible and acoustic standpoints.) At any charge, the distinction on one stage between the 2 dramas registers strongly, the ambiguities of sacrifice readily obvious on the shut of Aulide. Iphigénie has been rescued for now, however at what price, each private (marriage) and societal (impending warfare)? A very good few of those that had been initially glad, or not less than compliant, to cooperate in her sacrifice should certainly want they’d gone by way of with it. The battle of Achille and his males to beat Agamemnon and his path is nicely dealt with: one of the vital convincing combat scenes I’ve seen on the operatic stage. Few are the opera productions at present, or so it feels, that escape foolish dancing, neither associated to the music nor clever set in (non-musical) counterpoint to it. This, alas, proved no exception, however most of us are wearily accustomed to the apply by now; not less than it’s at a marriage, which one would possibly say is a pure dwelling to crazy dancing. It stays a pity, although, that the expressive, dramatic function performed by dance in a lot eighteenth-century opera, particularly that we might broadly take into account to be French, as soon as once more goes ignored.
The query of the deus ex machina, acquainted to Wagner, who wrote a revised ending of his personal (surprisingly adopted by Riccardo Muti at La Scala), is muddied, however that’s in all probability the purpose. Having Diane communicate by way of the sacrificed Iphigénie – seen at first, in Agamemnon’s creativeness – permits Iphigénie herself, in double, to witness that horror, in addition to compound concern instilled amidst the equally consecrated nuptials regarding Agamenon’s voyage. The scene is recalled on the finish of Tauride, a properly ambiguous shut into which we will in all probability learn what we’ll, although it could be tough to really feel wildly optimistic, given what now we have seen. There are occasions when subverting or, extra usually, merely disregarding the lieito high quality irritates, at greatest, however that is higher thought by way of and with out narrowing insistence.
Haïm’s route had its moments. The vigour of the Scythian choruses specifically evoked a correctly barbaric, brutally war-torn ambiance from percussion and the superb refrain alike. Basically, although, even for many who discover it simpler to take such ‘whiteness’ of strings than I do, the emotional vary was restricted, belying Gluck’s standing as a grasp musical dramatist. Purely orchestral actions usually appeared merely fairly or, worse, fey, reasonably than appearing as bearers and drivers of the drama. Dance music thereby doubly suffered, given Tcherniakov’s parallel lack of curiosity. Intonation, furthermore, was variable, even given common retuning. The viewers, nonetheless, greeted Haïm with rapturous applause.
Corinne Winters’s efficiency would have significantly impressed, had it solely been in one of many operas. Hers was a musicodramatic achievement of excessive order, no mere ‘feat’. As nicely acted because it was sung, one might learn virtually as a lot into her different facial expressions as her vocal palette. Right here was a survivor in each sense. From a robust forged, Véronique Gens as a glamorous but intensely human (and humane) Clytemnestre, Alasdair Kent’s Achille, cocky vainness matching but not exceeding his valour, Florian Sempey’s resolute but extremely traumatised Oreste, and Stanislas de Barbeyrac’s heart-rendingly stunning efficiency of Pylade stood out for me. This, although, was an Iphigénie forged in depth; I recall no weak hyperlinks. No matter my reservations, its reminiscence may also likely endure.
Mark Berry
