| Production - SFO & Lyric Opera of Chicago |
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| Iphigenie sung by Susan Graham - mezzo-soprano |
| Oreste sung by Bo Skovhus - baritone |
| Pylades sung by Paul Groves - tenor |
| Thoas sung by Mark S. Doss - bass-baritone |
| Conductor - Patrick Summers |
| Director - Robert Carsen* |
| Production Design - Tobias Hoheisel* |
| Lighting - Peter Van Praet* |
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| Iphigenie en Tauride |
| Chorus Director - Ian Robertson |
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| Choreographers - Philippe Giraudeau* |
| SAN FRANCISCO OPERA PREMIERE |
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| Libretto by Nicolas François Guillard
Approximate Running Time: 2 hours, 45 minutes Sung in French with English Supertitles |
| Follow links to discover more about each opera role and click artist name for an in-depth bio and reviews. |
| Follow links to discover more about each production artist and get a feel for their unique vision of opera. |
| Diana sung by Heidi Melton - soprano |
| 2nd Priestess sung by Sally Mouzon - mezzo-soprano |
| A Greek Maiden sung by Melody Moore - soprano |
| A Scythian sung by Torlef Borsting - bass |
| 1st Priestess sung by Virginia Pluth - soprano |
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| Carsen and designers Tobias Hoheisel (sets and costumes) and Peter Van Praet (lighting co-designer) — all of whom helped to make last season's "Orfeo ed Euridice" so memorable — move the non-action from classical Greece to a timeless abstract theater realm that deftly mirrors the inner torment of the characters. |
| The set consists of towering dark panels on which the names of Iphigenie and her murdered parents are scrawled in chalk. The dress code is basic black, with stark lighting that often throws looming shadows behind the singers...Carsen employs non-singing actors and dancers to mime in slo-mo the violent clashes between the Greeks and Scythian barbarians, complete with simulated throat-cutting and stylized bloodletting (so if you needed a drink after SFO's Norma '05, be forwarned: sfartworld coment). When the minimalist set is raised at the end to admit a blaze of pure white light, the effect is wondrously cathartic, as Gluck no doubt meant it to be. / Review 06 |
| Carsen and designer Tobias Hoheisel take us into Iphigenie's head by means of a bare stage filled with both the basic action of the story and silent actors and dancers representing the torments of her dreams./ Review_06 (The starkness of the stage also improve the acoustics wonderfully and reminded me of something I once read - quote below.) |
| (2007)-May 26) 10:30 a.m. KUSF-FM (90.3): Saturdays at the Opera. "Iphigenie en Tauride" (Gluck)./ Notes: Carson says the sets are not literal but a reflection of the inner thoughts of the characters. |
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| A Minister sung by Jeremy Galyon - bass-baritone |
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| The simplicity of the sets serve as a sounding board, which amplifies the already great voices and makes them magnificent./ SFAW |
| "During their stay in Valletta, the French had been more than usually unkind to the monastery;... taken away all its treasure and sold off its cloister,...wantonly broken the armorial stained-glass window (which had been replaced with cane matting) and had stripped the walls of the exceptionally fine marble lapis lazuli and malachite that covered them. Yet this was not without its advantages. The acoustics were much improved, and as they stood there among the dim, bare stone or brick arches the choir-monks might have been chanting in a far older church, a church more suited to their singing than the florid Renaissance building the French had found. / Treason’s Harbour by Patrick O’Brian – pg 57 |