Iphigenie in Aulis

Walter Berry (Performer), Christoph Willibald Gluck (Composer), Karl Böhm (Conductor), Christa Ludwig (Performer), Inge Borkh (Performer), Vienna Philharmonic Orchestra (Orchestra), Elisabeth Steiner (Performer), James King (Performer) | Format: Audio CD

Product Details

• Performer: Walter Berry, Christa Ludwig, Inge Borkh, Elisabeth Steiner, James King
• Orchestra: Vienna Philharmonic Orchestra
• Conductor: Karl Böhm
• Composer: Christoph Willibald Gluck
• Audio CD (July 9, 1996)
• Number of Discs: 1
• Label: Orfeo D'or
• ASIN: B0000044XG
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #188,726 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Ouverture

2. Iphigénie en Aulide, opera in 3 acts, Wq. 40: O Artemis, du strenge

3. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Apollo, du Herr von licht und Leben

4. Iphigénie en Aulide, opera in 3 acts, Wq. 40: halt uns nicht länger verborgen

5. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Dort im heiligen Hain

6. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Sie will, daß er mit eignen Händen

7. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Nenne laut seien Namen

8. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Spürst du nicht, wie das Volk erregt ist?

9. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Darf ein Gott von uns Menscneh forden

10. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Was soll der Trotz?

See all 24 tracks on this disc

Disc: 2

1. Iphigénie en Aulide, opera in 3 acts, Wq. 40: O Freude, alles war ein Trug

2. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Herbei! Kommt herbei!

3. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Gravement - Tanz der Sklaven

4. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Gavotte grazioso - Tanz der sklavinnen

5. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Allegro - Tanz der Sklaven und Sklavinnen

6. Iphigénie en Aulide, opera in 3 acts, Wq. 40: So schreiten wir vereint

7. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Die wahrheit bring ich Euch

8. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Du zum Tode bestimmt

9. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Fürstin sei ohne Furcht

10. Iphigénie en Aulide, opera in 3 acts, Wq. 40: Er ist ratlos und schwach

See all 30 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars Superb dramatic performance of "Aulis"!, July 12, 2004

By 

madamemusico "madamemusico" (Cincinnati, Ohio USA) - See all my reviews

Amazon Verified Purchase

This review is from: Iphigenie in Aulis (Audio CD)

Christoph Willibald Gluck began his career writing baroque operas in the style of Handel, but around 1775 began writing more strophic, direct, emotionally powerful works based on Greek drama. From this period comes his "Orfeo," "Armide," "Alceste" and "Iphigenie en Tauris."

This earlier work, dating from around 1770, is "on the cusp." It was based upon Greek drama but the compositional style was still more Baroque-based, with more formal arias and Baroque coloratura. The Erato recording, conducted by Gardiner, is in this style, which is wholly inadequate for the temper of the drama, even though it is stylistically correct.

This 1962 Salzburg production, directed by Gunther Rennert and conducted by Karl Bohm, strove to bring "Aulis" in line dramatically with the second, later Iphigenie opera. To this end, Rennert directed a staging in which a silent chorus of observers watched the drama unfolding onstage, while Bohm consciously sought out singers better known for their dramatic projection than for their ability in Baroque roulades and filigree. The result was a performance in which the niceties of passage-work are sometimes sacrificed but the drama is always at the forefront. This is perhaps most notable in the singing of mezzo Christa Ludwig as Iphigenie; her scales are not terribly fluid, in fact a tad clumsy at times, but her dramatic interpretation is dead-on.

Inge Borkh, whose massive voice was never really recorded successfully, nevertheless sings with tender passion as Klytemnestra. Walter Berry, in this his first dramatic (non-Mozartian) role, makes a strong impression as Agamemnon. Tenor James King, who had a large voice yet sometimes tight-sounding top notes, sings well but not always freely as Apollo. But the real star of this show is Bohm, whose conducting is driven by a tremendous inner fire that moves things along at an intense pace. If you like your Greek dramas intense, this is the performance of "Aulis" for you. I can only say that it satisfies me more than any other recording or performance has ever done before or since.