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Christoph Willibald Gluck, Iphigénie en Tauride

I, 1: Introduction

I, 1: "Ô toi qui prolongeas mes jours"

I, 2: "Dieux! le malheur en tous lieux suit mes pas"

I, 2: "De noirs pressentiments"

I, 3: "Les dieux apaisent leur courroux"

I, 4: "Et vous, à vos dieux tutélaires"

I, 5: "Malheureux! quel dessein à vous-mêmes contraire"

I, 6: "Il nous fallait du sang"

II, 1: "Quel silence effrayant!"

II, 1: "Dieux qui me poursuivez"

II, 1: "Unis dès la plus tendre enfance"

II, 2: "Etrangers malheureux, il faut vous séparer!"

II, 3: "Dieux protecteurs de ces affreux rivages"

II, 3: "Le calme rentre dans mon coeur!"

II, 4: "Vengeons et la nature et les dieux en courroux!"

II, 5: "Je vois toute l'horreur"

II, 6: "Patrie infortunée"

II, 6: "Ô malheureuse Iphigénie!"

II, 6: "Contemplez ces tristes apprêts"

III, 1: "Je cède à vos désirs"

III, 1. "D'une image, hélas!"

III, 2: "Voici ces captifs malheureux"

III, 3: "Je pourrais du tyran tromper la barbarie"

III, 4: "Ô moment trop heureux!"

III, 4: "Et tu prétends encore que tu m'aimes"

III, 4: "Ah! mon ami, j'implore ta pitié!"

III, 5: "Malgré toi, je saurai t'arracher au trépas!"

III, 6: "Puisque le ciel à vos jours s'intéresse"

III, 7: "Divinité des grandes âmes"

IV, 1: "Non, cet affreux devoir je ne puis le remplir"

IV, 1: "Je t'implore et je tremble"

IV, 2: "Ô Diane, sois-nous propice"

IV, 2: "Que ces regrets touchants pour mon coeur ont des charmes"

IV, 2: "Chaste fille de Latone"

IV, 4: "De tes forfaits la trame est découverte"

IV, 5: "C'est à toi de mourir!"

IV, 6: "Arrêtez! écoutez mes décrets éternels!"

Gluck's Iphigénie en Tauride

Pierre Audi (stage director), Marc Minkowski (conductor) - With Mireille Delunsch (Iphigénie), Laurent Alvaro (Thoas), Jean-François Lapointe (Oreste)...

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Cast

Pierre Audi — Stage director

Michael Simon — Set designer

Anna Eiermann — Costume designer

Jean Kalman — Lighting designer

Klaus Bertisch — Dramaturgy

Mireille Delunsch — Iphigénie

Laurent Alvaro — Thoas

Program notes

Gluck’s two Euripedes-inspired Iphigénie operas made for a visually and musically stunning double bill in a 2011 production by Pierre Audi at the Amsterdam Music Theatre, highlighting the dramatic unity between Iphigénie en Aulide and follow-up Iphigénie en Tauride. This latter opera has remained popular since its resoundingly successful 1779 Paris premiere, representing the height of Gluck’s operatic reforms: a renewed emphasis on dramatic arc and thematic unity, coupled with clear vocal lines stripped of Baroque ornamentation. The celebrated Musiciens du Louvre-Grenoble under Marc Minkowski set the scene as formidable soloists Mireille Delunsch, Laurent Alvaro, and Jean-François Lapointe bring pathos and lyricism to this “crowning achievement of Gluck’s career” (Grove Music).

Iphigenia, now high priestess to Diana on the island of Tauris, is plagued by terrifying dreams in which she kills her brother Orestes to avenge his murder of their mother Clytemnestra, who has slain their father Agamemnon. When Orestes and his friend Pylades are shipwrecked on the island during a storm, King Thoas demands that Iphigenia sacrifice them to appease the gods. After many years apart she does not recognize her brother, but an ineffable bond compels her to go to great lengths to prevent her nightmare from coming true—even if it means defying kings or gods.

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