In Christoph Willibald Gluck's wonderful but mostly neglected opera Iphigenie en Tauride from 1774, the protagonists move in a field of tension of wounded blood ties, fears, traumas and fateful predestination, which finally leads to liberation. In Claus Guth's Zurich production, this development is symbolized by oversized masks and enclosed spaces. Right at the beginning of the opera, the orchestra depicts Iphigénie's struggles with her fate, contrasting calm with outburst, gentleness with brokenness.
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