Name: Iphigénie en Tauride
Start: 2021-11-19T00:00:00.000Z
End: 2021-11-21T00:00:00.000Z
Location: Teatro Sociale

Organization

Soprano

Miriam Gorgoglione

Priestesses

Luisa Bertoli

Chiara Ciurlia

Erica Rondini

Tenor

Alessandro Nuccio

A Scythian

Bass

Ermes Nizzardo

Minister of the Sanctuary

Conductor

Diego Fasolis

Anna Caterina Antonacci

Iphigenie

Baritone

Bruno Taddia

Orestes

Mert Süngü

Pylades

Michele Patti

Thoas

Marta Leung

Diana

A Greek woman

Stage director

Emma Dante

Lighting designer

Cristian Zucaro

Costume designer

Vanessa Sannino

Set designer

Carmine Maringola

Choreographer

Sandro Campagna

Chorus master

Massimo Fiocchi Malaspina

Stage combat master

Teatro Sociale di Como - AsLiCo

Others

Coro OperaLombardia

Orchestra

Orchestra "I Pomeriggi Musicali" di Milano

OperaLombardia

Iphigénie en Tauride -  (Iphigenia in Tauris)

Como

Italy

Teatro Sociale

Iphigénie en Tauride Gluck

Public

Iphigenia in Tauris

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Saxophonist

Trombonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Dancer

Actor

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Countertenor

Singer

Contralto

Mezzo-soprano

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

There could not have been a more contemporary direction for a contemporary myth, always evergreen from century to century, from millennium to millennium, in the interpretation of Emma Dante. May 18, 1779: world premiere of Christoph Willibald Gluck's Iphigénie en Tauride , in the same year in which Goethe composed his Iphigenie auf Tauris which he would later rework in 1787 in verse. All sources refer to Euripides' drama, from 414 BC, set in the temple of Artemis in Tauris. Gluck's lyrical tragedy is therefore grafted onto this trail and is considered a masterpiece, also for the majesty that emerges from two important characteristics, the simultaneous use of the corps de ballet choir, in tersicorei moments that are combined with climaxes in the plot . Furthermore, the choral moments are an innovation, unique at that time in the panorama of European melodrama. In particular, with regard to the simultaneity of the actions, we mention the fourth scene of the second act, when a part of the Furies dance around sleeping Orestes, while some of them launch furious invectives against the matricide ... A leap into the age of the Greek myth , a return to the origins of the tragedy, of 414 BC, with a music that consecrated the talent of the composer.

English

Non poteva esserci regia più contemporanea per un mito contemporaneo, sempre evergreen di secolo in secolo, di millennio in millennio, nell’interpretazione di Emma Dante. 18 maggio 1779: prima assoluta dell’Iphigénie en Tauride di Christoph Willibald Gluck, nel medesimo anno in cui Goethe compone in prosa la sua Iphigenie auf Tauris che poi rielaborerà nel 1787 in versi. Tutte le fonti riportano al dramma di Euripide, del 414 a.C., ambientato al tempio di Artemide in Tauride. La tragedia lirica di Gluck si innesta dunque in questa scia ed è ritenuta un capolavoro, anche per la maestosità che emerge da due caratteristiche importanti, l’uso simultaneo del coro del corpo di ballo, in momenti tersicorei che si abbinano a climax importanti nella trama. Inoltre, i momenti corali sono un’innovazione, un unicum in quel tempo nel panorama del melodramma europeo. In particolare, a proposito della simultaneità delle azioni menzioniamo la quarta scena dell’atto secondo, quando una parte delle Furie danza d’intorno ad Oreste dormiente, mentre alcune di loro lanciano invettive furenti contro il matricida … Un balzo all’epoca del mito greco, un ritornare alle origini della tragedia, del 414 a.C., con una musica che consacrò il talento del compositore.

italiano

Iphigenia in Tauris by Gluck, pen 19 lap 2021, Nuo (2021/2021), Režisierius Emma Dante,, Dirigentas Diego Fasolis, Teatro Sociale, Como, Italy

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