Ifigenia in Tauride (de Majo)

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Opera dates
Title: Iphigenia in Tauris
Original title: Ifigenia in Tauride
Title page of the German libretto, Mannheim 1764

Title page of the German libretto, Mannheim 1764

Shape: Dramma per musica in three acts
Original language: Italian
Music: Gian Francesco de Majo
Libretto : Mattia Verazi
Premiere: November 5, 1764
Place of premiere: Mannheim Court Theater
Playing time: about 3 hours
Place and time of the action: On Tauris, archaic times
people

Ifigenia in Tauride is an opera seria (original name: "Dramma per musica") in three acts by Gian Francesco de Majo (music) with a libretto by Mattia Verazi . It was premiered on November 5, 1764 in the court theater in Mannheim.

action

prehistory

In order to reconcile the offended goddess Diana , Agamemnon , the king of Argos , decides to sacrifice his daughter Ifigenia ( Iphigenia ) to her. However, with the help of her mother Clitennestra ( Klytaimnestra ), he managed to escape to Tauris, where she found protection with the Scythians and dedicated her life to the goddess Diana. She lived there for many years undetected among the holy virgins and was eventually appointed high priestess. Her parents now think she is dead. In Tauris, the cruel usurper Toante ( Thoas ) has all strangers arriving on the beach sacrifice to the gods.

After the end of the Trojan War , Clitennestra and her lover Egiste ( Aigisthos ) murder their husband Agamemnon. When Ifigenia's younger brother Oreste ( Orestes ) avenged the act on Egiste a few years later, he accidentally also kills his mother, who runs into him. The Erinyes then beat him madly and pursue him. Since an oracle promises him redemption if he steals the statue of Diana from Tauris and brings it to Greece, Oreste and his friend Pilade ( Pylades ) set off by ship to Tauris.

The actual content of the opera was given by the librettist Verazi in the foreword to the German libretto of 1764 as follows:

“The cruelty of the tyrant went so far that he thought he was forcing Iphigenia to steal a terrible meal for the first entry into her high office by the most heinous deed, by self-slaughtering her biological brother, Orestes.

For what intentions did the unfortunate man, accompanied by his friend Pildes, go to Shithia - what dangers he was exposed to in this barbaric country - how the painful gnawing of the injured conscience, which the offended Fantasey, through the painful memory of his unpredictable his own murdered mother, the Clitemnestra, confused, ceased - and he again received the lost use of his senses - when he was told by Iphigenia, which left him behind as a small child in Argos, and the facial features in him that had changed over the years did not so easily discovered, recognized - how did they all evade the cruelty of the Wütherich, and how finally the tired heaven wanted the godlessness of the tyrant to be punished as a horrific example to others? can be seen from the series of contemporary poems.

The noblest foundation fortress on which the structure of this poem was placed is from the pausan. Vall. Paterc. Euripid. Sofoc. Apollodor. Higin. and others.

Without changing the most essential circumstances of the story, I have presumed to deviate from the general fabulous opinion of some masses, thereby avoiding the improbability of the supernatural and astonishing coincidences, and because I am in agreement with the kind of authors who give viewers in their funeral games Having chosen to arouse pity, and give the applause it deserves, I have made an attempt to make the subject matter more engaging, but the progression less dangerous, and all the more secure.

The show place is in the city and area of ​​Anticira, the capital of the half-island Tauris in Shithia. "

first act

A forest dedicated to the goddess Diana

On the right the Temple of Diana; in the distance on the left the sea coast with dangerous cliffs and rocks; a watchtower on a rock that is difficult to reach, from which all incoming ships can be spotted early

Scene 1. The Greek ship capsizes in a severe storm. Only a few survivors can save themselves on a rock. After the storm subsided, the local Scythians plunder the castaways and take them prisoner. Only Pilade can fight to save himself in the sacred grove. The high priestess Ifigenia is amazed at the stranger's bravery and orders them to retreat. She informs the rescued person that as a stranger he has desecrated the holy forest. He is therefore only allowed to leave the place after he has reconciled the deity. She then tells him that this is an excuse for her to save his life, because the law commands all strangers to be killed. The tyrant Toante is in a particularly bad mood right now because a Greek tried to steal the statue of the goddess. This will shortly be thrown against wild animals. Pilade, who immediately recognized that it was his friend Oreste, asks Ifigenia to see this spectacle. She promises to provide him with a Scythian cloak for this purpose. She feels sorry for him because she herself came to this country as a stranger and has since been exposed to Toante's whims (aria: “De 'tuoi mali esultarei”).

Scene 2. Pilade is shocked by the mendacity of the gods, whose saying Oreste brought into this situation. He reproaches himself for not having accompanied Oreste ashore and resolves to help him in the future even in the greatest danger (Arie Pilade: "Fra cento belve e cento")

Thermal baths in the royal palace with fountains, water features and grotesques

Scene 3. Ifigenia talks to the Taurian princess Tomiri about the fate of Orestes. Tomiri is the only Ifigenia who knows true origin. She suspects that this is why she takes sides with the Greeks. At the same time, she is jealous of Ifigenia, which Toante has meanwhile cast an eye on. She had given herself hopes of regaining her rightful rule by marrying the usurper, but now Toante is trying to marry her with the barbarian king Merodate (Aria Tomiri: "E specie di follia").

Scene 4. When Oreste Ifigenia is brought up for interrogation, they both shudder. They do not recognize each other as siblings because the separation was too long ago. Still, Oreste feels reminded of his mother who he murdered. His madness is noticeable (Cavatine: “Per pietà deh nascondimi almeno”). Ifigenia withdraws, shaken.

Scene 5. Oreste sees himself delusional in the underworld on the bank of the Dead River, surrounded by furies (Accompagnato: “Grazie ai Numi, partì” - aria: “Rimorsi tiranni”).

Large amphitheater at the palace

On the right the royal box with a throne; Cages for the wild animals; Lattice gates between the two sides of the amphitheater; Access to the theater from a hill surrounded and decorated with magnificent buildings

Scene 6. The Sarmatian ruler Merodate arrives in a triumphal chariot at the head of his large retinue. He brought Tomiri black slaves, wild animals, dwarfs and giants as a bride present. When Toante and Ifigenia meet him, he haughtily asks Toante whether this is the Scythian whom he has chosen as bed playmate. Let her settle down at his feet to get used to it. Toante promises that Tomiri will appear shortly. Meanwhile, may he spend the time with the celebrations. Merodate is cheered by his people (Cavatine: "Vuoi così? T'appagherò" - Choir of the Sarmatian warriors: "Pace al mondo, a noi riposo").

Scene 7. Tomiri appears. She mockingly looks at Merodate's entrance. Then they introduce themselves to each other and consider what to think of each other. Tomiri suggests that he take Ifigenia in her place. Toante finally puts an end to the mutual taunts, and Merodate accepts Tomiri, to whom he also gives some rules of conduct (aria: "Di me s'accenda"). Everyone goes to their boxes to watch a wrestling battle.

Scene 8. As the next attraction of the festivities, Oreste is to be fed to wild beasts. Pilade throws him weapons from his box and jumps down himself to fight by his side. Toante calls the guards. The two friends fight fearlessly, but have to retreat from the overwhelming force towards the royal palace.

Courtyard in the Royal Palace

Scene 9. Pilade and Oreste are arrested and chained on Toante's orders. Each of the two friends tries to take the blame on themselves in order to save the other. Toante doesn't care. He promises them a terrible death (aria: "Non m'irritate, o perfidi").

Scene 10. Pilade and Oreste tenderly say goodbye when they are separated from the guards (Accompagnato: "Pilade amato" - duet: "Che crudele addio funesto").

Second act

cabinet

Scene 1. To incline Ifigenia, Toantes Ifigenia promises to release one of the two prisoners. However, she must sacrifice the others to the goddess herself. Ifigenia refuses with reference to her vow of chastity. She also advises him of Tomiri's claim to the throne. Toante reveals to her an insidious plan: He poisoned the wedding cup in order to murder both Tomiri and the haughty Merodate at the ceremony. He explains to the horrified Ifigenia that promises have no meaning for rulers, because no rules apply to them. He sends Ifigenia away because he wants to speak to Tomiri.

Scene 2. Toante explains to Tomiri that her marriage to Merodate was important to the empire and was ordered by the satraps . Tomiri refers to the opposing voices of the people and the army as well as to her love for him, which she feels despite her anger (Accompagnato: "Pensaci: e infin ch'io t'amo" - Aria: "Ah lo sdegno degli amanti") .

Scene 3. After Tomiri leaves, Toante decides to carry out his plans unchanged. He is sure that Ifigenia will give in to his wooing (aria: “Pudico fu spesso”).

Generously lit, magnificent hall in the royal palace; in the middle an altar with a portrait of Concordia

Scene 4. After Ifigenia informs Tomiri about Toante's murder plan, she asks her to apologize for her behavior.

Scene 5. Toante, Merodate join in, accompanied by the Scythian satraps, guards and other entourage. Toante asks the satraps to confirm their consent to the wedding again (chorus: "Ceder devi. Concordi noi siamo"). He then pretends to renounce his love for Tomiri for the sake of peace and asks for the wedding mug for the wedding ceremony. Merodate should be the first to take the oath and drink from it - but he demands that Toante drink from it first. Toante has no choice but to waive the potion for Merodate. When Tomiri is supposed to drink from it, she angrily throws Toante the mug for her feet. The scene ends with insults and threats from all sides (quartet: “Tu m'insulti?”).

Horrible dungeon in the tower

The entrance to the dungeon is closed at the top by a gate, through which a staircase leads down. Left and right moving gates to different prison cells.

Scene 6. Pilade informs Oreste that Toante has decided to release one of them. He will happily go to his death to save his friend.

Scene 7. When Ifigenia learns from Pilade that Oreste comes from her native Argos, she asks him for news of Agamemnon. The two tell her about his death at the hand of Clitennestra and the curse that weighs on their son. Oreste admits (without giving his name) that he himself killed Clitennestra. This causes Ifigenia's anger. She is now determined to sacrifice Oreste. The fact that the two continue to argue about which of them should die for the other confuses them completely (duet Oreste / Pilade [with Ifigenia]: "Senti, ah no: morir volg'lio").

Scene 8. Ifigenia is no longer in control of her emotions. On the one hand she feels a strange feeling of affection for Oreste, on the other hand she is determined to avenge her mother (Accompagnato: "Chi resister potria?" - Aria: "Ombra cara, che ontorno t'aggiri").

Third act

Secluded idyllic place in the royal garden

Scene 1. Tomiri and Ifigenia have finally settled their differences. Ifigenia persuades the princess to take her fate into her own hands and organize a rebellion against Toante. She suggests trying to win Merodate's support through feigned flattery. Tomiri, however, does not trust himself to be such a deceit. She thinks her feelings for Toante are too easy to see through.

Scene 2. Merodates wants to leave for his homeland with Tomiri. He rejects her wish to recapture her own throne from Toante beforehand. He advises Ifigenia to give in to Toante's urging, and then to stick a dagger in his heart. This would also avenge Tomiri's disgrace. Ifigenia persuades him to wait until the next morning to leave. The uprising should then be over. Merodate suggests that in case of failure, Ifigenia could travel with him and maybe win his love. He considers the concept of marital fidelity to be a freak of the brain (trio: "Di mente aborto vana").

Underground vault of the Temple of Diana in the form of a spacious and deep cave

Light is provided only by the faint glow of a few burning lamps held by mysterious sphinxes amidst other repulsive decorations. In the middle in front of the terrible image of the three-figure goddess is the sacred tripod on which the cruel sacrifices are carried out. On one side a staircase leading up to the temple. On the other side is a dark forecourt where the weapons and possessions of the barbarically sacrificed people are kept.

Scene 3. After Pilade and Oreste have been brought in, accompanied by Ifigenia, Toante begins the sacrificial ceremony (Cavatine: “Con face lugubre” - chorus: “Nume terribile!”). He asks Ifigenia to name the chosen victim. She points to Oreste. When he is brought to the altar, Pilade asks to be allowed to die at his side. Ifigenia refuses. Instead, she reveals herself to Oreste as the daughter of Clitennestra, whom he killed. Oreste faints. Ifigenia asks Pilade to look for her brother Oreste in his homeland and to tell him that she had avenged her mother's murder. When she reaches for the sacrificial ax, Pilade interrupts her and reveals Orestes true identity (Accompagnato: “Che ardire!”). He wakes up and the siblings recognize each other. Toante, however, calls Oreste a fraud, asks Ifigenia to carry out the sacrifice and has Pilade thrown into dungeon (Aria Pilade: "E vuoi? ... Crudel ... Perche?")

Scene 4. Toante offers Ifigenia to release Oreste if she agrees to marry him. He will wait for her decision in the temple. Either the wedding will take place there or Oreste will die.

Scene 5. Orestes would rather die than marry off his sister to this tyrant. He also wants to atone for his mother's death. Ifigenia sees another way out: she wants Toantes to swear to release Oreste, marry him and then stab herself. Oreste may then avenge her death. She rejects all of his objections and threatens to commit suicide if he tries to stop her (Accompagnato: “Accresa pietoso” - aria: “Se il labbro si lagna”).

Scene 6. Meanwhile, Tomiri has rallied her supporters. She has already learned everything and has prepared an escape route for Ifigenia, Oreste and Pilade. The Greeks are supposed to leave on the Sarmatian ship.

Scene 7. Ifigenia asks Oreste to wait until she has freed Pilade and the other Greeks. Then they want to drag the statue of Diana to the ship together to solve Orestes curse.

Scene 8. Oreste has found hope again (aria: “Tornò la mia speranza”).

The inside of a large temple of Diana with a magnificent altar without the statue of the goddess

Scene 9. When Toante wants to wait for Ifigenia with some guards in the temple, the disturbed priests report the stolen statue (chorus: "Che sorte! Che fato!"). Shortly afterwards the armed Tomiri appears and informs him that the temple is surrounded by the Sarmatians. But she knows an underground secret passage to the outside. Although the people demand his death, she wants to save him if he shows repentance and agrees to marry her. Toante, however, insults her with severe blasphemy.

Scene 10. Merodate impatiently waits for Toante to submit. He finally wants to leave with Tomiri and enjoy the joys of love (trio: "Al regio letto"). Although the temple is already on fire, Toante refuses to accept Tomiri's suggestion. Tomiri still hesitates to leave him. When Merodate threatens to kill Toante personally, she defends him and sends Merodate away under abuse. Merodate swears vengeance. Toante continues to refuse to follow Tomiri. You have no choice but to leave him behind.

Scene 11. Toante struggles with his fate until the flames have blocked every escape route (Accompagnato: “Andrò… Ma Ifigenia?” - Aria: “Quà… La fiamma!”). Only now does he realize that after his life as an ungodly villain he will face a just punishment. To accelerate this, he throws himself from the altar into the fire and is buried under the rubble of the collapsing temple. Behind it you can see part of the forest, which has also caught fire, and in the distance the sea coast.

layout

orchestra

The orchestral line-up for the opera includes the following instruments:

Music numbers

The opera contains the following music numbers (the contemporary German text beginnings have been slightly modernized in terms of language):

first act

  • No. 1. Aria (Ifigenia): "De 'tuoi mali esultarei" - "I would rejoice over your misfortunes" (scene 1)
  • No. 2. Aria (Pilade): "Fra cento belve e cento" - "Will bears, tigers and lions surround you a hundred times" (scene 2)
  • No. 3. Aria (Tomiri): "E specie di follia" - "I know it, it is a genre of folly" (scene 3)
  • No. 4. Cavatine (Oreste): “Per pietà deh nascondimi almeno” - “For heaven's sake at least hide” (scene 4)
  • No. 5. [Accompagnato-] recitative (Oreste): "Grazie ai Numi, partì" - "Thank the gods, she has disappeared" (scene 5)
  • No. 6. Aria (Oreste): "Rimorsi tiranni" - "Your tyrannical bites" (scene 5)
  • No. 7. Cavatine (Merodate): “Vuoi so? T'appagherò ”-“ Is that how you want it? So I will enjoy you "(scene 6)
  • No. 8. Choir (Sarmatian warriors): "Pace al mondo, a noi riposo" - "Peace to the world and rest for us" (scene 6)
  • No. 9. Aria (Merodate): "Di me s'accenda" - "Whoever loves me" (scene 7)
  • No. 10. Aria (Toante): "Non m'irritate, o perfidi" - "Do not irritate me, traitor!" (Scene 9)
  • No. 11. [Accompagnato-] recitative (Oreste / Pilade): “Pilade amato” - “Beloved Pilade” (scene 10)
  • No. 12. Duet (Oreste / Pilade): "Che crudele addio funesto" (scene 10)

Second act

  • No. 13. [Accompagnato-] recitative (Tomiri): "Pensaci: e infin ch'io t'amo" - "Remember it" (scene 2)
  • No. 14. Aria (Tomiri): "Ah lo sdegno degli amanti" - "Oh, the wrath of lovers" (scene 2)
  • No. 15. Aria (Toante): "Pudico fu spesso" - "The mouth is often chaste" (scene 3)
  • No. 16. Choir (satraps): “Ceder devi. Concordi noi siamo ”-“ It is fitting to comply with one's desire ”(scene 5)
  • No. 17. Quartet (Ifigenia / Tomiri / Merodate / Toante): “Tu m'insulti? Va, che sei "-" You insult me ​​"(scene 5)
  • No. 18. Duet (Pilade / Oreste [with Ifigenia]): "Senti, ah no: morir volg'lio" - "Come, oh desired death!" (Scene 7)
  • No. 19. [Accompagnato-] recitative (Ifigenia): “Chi resister potria?” - “Who could offer resistance?” (Scene 8)
  • No. 20. Aria (Ifigenia): "Ombra cara, che ontorno t'aggiri" - "Beloved shadow that floats around me" (scene 8)

Third act

  • No. 21. Trio (Ifigenia / Tomiri / Merodate): "Di mente aborto vana" - "A freak of the brain" (scene 2)
  • No. 22. Cavatine (Toante): "Con face lugubre" - "With this funeral torch and dark light" (scene 3)
  • No. 23. Choir (priest): "Nume terribile!" (Scene 3)
  • No. 24. [Accompagnato-] recitative (Toante / Ifigenia / Oreste / Pilade): “Che ardire!” - “What a boldness!” (Scene 3)
  • No. 25. Cavatine (Pilade): “E vuoi? … Crudel… Perche? "(Scene 3)
  • No. 26. [Accompagnato-] recitative (Ifigenia): "Accresa pietoso al viver tuo quei giorni il cielo" - "The merciful heaven extend your days" (scene 5)
  • No. 27. Aria (Ifigenia): "Se il labbro si lagna" - "If your mouth only complains, it is enough for me" (scene 5)
  • No. 28. Aria (Oreste): "Tornò la mia speranza" - "My hope begins in the heart" (scene 8)
  • No. 29. Choir (priest): “Che sorte! Che fato! ”-“ Oh bad luck! Oh horrible act! "(Scene 9)
  • No. 30. Terzett (Tomiri / Merodate / Toante): "Al regio letto" - "I want to lead you to the royal bed" (scene 10)
  • No. 31. [Accompagnato-] recitative (Toante): "Andrò ... Ma Ifigenia?" - "Shall I go? ..." (scene 11)
  • No. 32. Aria (Toante): "Quà ... La fiamma! ... Là ... Il fumo! ..." - "Here the eating flames" (scene 11)

libretto

Mattia Verazi wrote the libretto . It deals with an opera subject after Iphigenia in Tauris by Euripides, which was very popular in the 18th century . Later versions also contain elements of the play Iphigénie en Tauride by Claude Guimond de La Touche , published in 1757 . The first known opera on this subject was started by the French librettist Joseph-François Duché de Vancy and the composer Henry Desmarest and completed in 1704 by Antoine Danchet and André Campra . An Italian libretto of the genre Opera seria by Benedetto Pasqualigo was set to music by Giuseppe Maria Orlandini (1719), Leonardo Vinci (1725), Antonio Maria Mazzoni (1756) and Carlo Monza (1784). After La Touche's drama appeared, the material was often used for reform operas. Marco Coltellini's libretto was set to music by Tommaso Traetta (1763) and Baldassare Galuppi (1768), Verazi's text, after Gian Francesco de Majo, was also used by Carlo Monza (1766 under the title Oreste ) and Niccolò Jommelli (1771). The operas by Christoph Willibald Gluck ( Iphigénie en Tauride , 1779) based on a libretto by Nicolas François Guillard and Niccolò Piccinni ( Iphigénie en Tauride, 1781) with a text by Alphonse du Congé Dubreuil became the starting point of the operatic dispute between the "Gluckists" and the "Piccinists".

Verazi added many lavish show interludes to the ancient plot: even during the overture, a storm with a shipwreck is shown on the stage; the boastful Merodate - a character like from the opera buffa - hits Tauris with the greatest pomp; Oreste has to assert himself against wild animals in the arena, and in the end the temple goes up in flames and buries Toante the usurper.

The libretto dispenses with complicated subplots. The conflict between Ifigenia and her vicious opponent Toante is portrayed all the more vividly. Dramatic actions take place directly on the stage and are not only reported in dialogues, as in older operas. The text contains a number of highly detailed scene instructions. The roles of the heiress to the throne Tomiri and the Sarmatic king Merodate, which Verazi added, did not belong to the ancient myth. The latter is "a kind of oriental Miles Gloriosus " ( Silke Leopold ). The fact that Oreste only accidentally kills his mother in the prehistory is an apparently ironic alienation of the myth. In contrast to most Ifigenia operas, Oreste is not the primo huomo here , but Toante. It is therefore one of the earliest operas in which the male lead is sung by a bass.

music

The opera differs significantly from the rigid form of the opera seria . The two duets for Pilade and Oreste are particularly noticeable, one of which is interrupted by Ifigenia's interjections. It wasn't until a quarter of a century later that something similar happened. The large scene complexes with arias and choirs without the subsequent departure of the respective character at the end of the scene ("departure aria") are just as atypical as the many ensemble movements. In addition to the two duets, there are two terzets and one quartet. All of these sentences are not only reflective, but also directly integrated into the plot, as was at most common in the comic opera at the time. The overture, the battle music and many recitatives, for example, testify to the dramatic power. The same applies to the final scene with the collapse of the temple and the death of Toante, which is completely composed as a formally free, coherent complex. It consists of a trio, an accompaniment, an ariosa section, another accompaniment and an orchestral aftermath. Due to the motive and key borrowing from the overture, a musical cohesion is created. Some arias show influences from Christoph Willibald Gluck . The sacrificial scene in the third act, for example, shows metrical and rhythmic relationships with the fury choirs in his Orfeo ed Euridice . Seven arias and ensemble movements are introduced by Accompagnato recitatives.

The content of the overture anticipates the programmatic overtures of the 19th century, as exemplified by Gluck a few years after de Maio's opera in his Iphigénie en Aulide . Their musical program is detailed in the libretto. Formally, it is modeled on the three-part Neapolitan opera symphony. The opening movement in E flat major vividly depicts the storm and sinking of the Greek ship. It contains a rhythmic theme that de Majo used several times in the opera. After the quiet G major middle movement with solo flute, in which the survivors reach the country, a Sforzato leads over to the E flat major closing section, which describes the struggle of the newcomers with the Scythians. There are triad motifs and moving triplets .

De Majo accompanies the two great appearances of the Sarmatian Merodate on stage with oriental janissary music , which Gluck first used in an opera that same year in La rencontre imprévue and which therefore appeared completely new in Mannheim. The orchestra is also used effectively in other ways. In the ritornelles of the arias there are often wind parts. One of the highlights is Toante's aria “Pudico fu spesso” (No. 15, II.3), in which a solo oboe and a solo bassoon give concerts. Oreste's last aria, “Tornò la mia speranza” (No. 28, III.8), is the opera's most spectacular piece. It is accompanied by oboes, horns, trumpets and timpani. The extremely virtuoso vocal part written for the soprano castrato Tonarelli is characterized by large jumps up to the tredezime ( c sharp '–a ' ') and brilliant coloratura up to the b' '.

Despite the innovative form, de Majo does not do without traditional arias - including an E-flat major ombraaria - and virtuoso pieces. The tomiri in particular are assigned spirited coloratura. All roles are musically concise. The aria "Non m'irritate" by the tyrant Toante is accompanied by a full orchestra with timpani. For Ifigenia, however, there are lyrical sounds. The passages of Oreste, who was struck with madness, are formally designed completely freely.

Work history

In 1764, the Neapolitan composer Gian Francesco de Majo was invited to the Mannheim court, where he was to compose an opera based on a libretto by Mattia Verazi for the celebration of the name day of Elector Karl Theodor . Since the elector was culturally extremely open-minded and had a positive attitude towards artistic reforms, had an excellent orchestra and made ample financial resources available, de Majo offered ideal opportunities for his opera, which he also fully exploited.

The world premiere took place on November 5, 1764 in the Mannheim court theater. It sang Giovanni Battista Zonca (Toante), Dorothea Wendling (Ifigenia), Lorenzo Tonarelli (Oreste), Giovanni Battista Coraucci (Pilade), Elisabetta Sarselli (Tomiri) and Pietro Paolo Carnoli (Merodate). The choreography of the dances came from Monsieur Bouqueton.

According to a report by Count Andreas von Riaucour about the festivities, the performance was a complete success, and there was nothing that could be improved on the beauty of the music, the variety of the scenes and the extravagance of the costumes. The titles of the two ballets listed between the acts, which Riaucour also mentioned, have not survived. There were probably several more performances of the opera in the following carnival season, and it was probably resumed (as was common in Mannheim at the time) the following November.

The whereabouts of the autograph is unknown. However, a copy of the score and the libretti in Italian and German that were printed in Mannheim have been preserved. During de Majo's lifetime, his Ifigenia was not played again in Tauride, like most of the operas composed in Mannheim for specific festive occasions.

In the second part of his three-volume music history novel Hildegard von Hohenthal , published in 1795, Wilhelm Heinse compared in detail the two Ifigenia scoring of Majos and Jommelli. He criticized the libretto heavily, but admired the music of the two composers.

“It is incomprehensible how one could do something so mediocre after the masterpiece of Euripides! The Kaffir king Merodates, and the Tomiris must loosen the knot and take the Greeks away. Except for a few beautiful arias and the situations, nothing prevails in this opera of the feeling that in Euripides is so hollowed out of the innermost nature and everywhere enchants. It is a pity that two of the greatest musicians have wasted their genius on it!

The truth of the fable consists in the following: Orestes, according to the fate of the gods, has to endure the agony of matricide after many tribulations; his youngest glorious sister and heavenly friend finally save him and make him happy again. The whole is charmingly veiled and decorated by religion.

The opera maker Verazi had no suspicion of it. Childishly he changes the fable and lets Orestes murder his mother Clytemnestra against his will, because she suddenly intervenes when he stabs Aigisth.

But the music itself? - It is a real treat for the ears and soul to see the great old Jomelli at the end of his career fighting the magic of the heavenly genius Majo! He probably chose Verazi's basically poor opera because he wanted to measure himself against this admired youth. Naples has, to a certain extent, decided in favor of the latter, and the old man, it is said, grieved to death about it. There was always intense jealousy with great talents. - Time and circumstances may have influenced the judgment; posterity should judge impartially. "

- Wilhelm Heinse : Hildegard von Hohenthal, part 2

It was first rediscovered in 1999 at the Heidelberg City Theater , where the work was staged by Andreas Baesler . Thomas Kalb directed the Philharmonic Orchestra of the City of Heidelberg . The singers were Andreas Daum (Toante), Inga Fischer (Ifigenia), Jörg Waschinski (Oreste), Martin Wölfel (Pilade), Katarzyna Dondalska (Tomiri) and Werner Volker Meyer (Merodate).

In the 2008/2009 season there was a new production by Wolfgang Quetes , which was played in the Teo Otto Theater in Remscheid and in the Wuppertal Opera House . The equipment came from Manfred Kaderk. Thomas Schobert (Toante), Banu Böke (Ifigenia), Cornel Frey (Oreste), Miriam Scholz (Pilade), Elena Fink (Tomiri) and Boris Leisenheimer (Merodate) sang here. Martin Braun in Remscheid and Florian Ziemen in Wuppertal were the musical directors.

literature

  • Paul Corneilson (Ed.): Gian Francesco de Majo - Ifigenia in Tauride (= Recent Researches in the Music of the Classical Era. Vol. 46). AR Editions, 1996, ISBN 0-89579-375-X ( limited preview in Google Book Search)
  • Robert R. Heitner: The Iphigenia in Tauris Theme in Drama of the Eighteenth Century. In: Comparative Literature. Vol. 16, No. 4 (autumn 1964), pp. 289-309, doi: 10.2307 / 1769613

Digital copies

Web links

Commons : Ifigenia in Tauride (de Majo)  - Collection of images, videos and audio files

Remarks

  1. ↑ Some sources mistakenly mention November 4, 1764 as the premiere date. This is the name day of Elector Karl Theodor, which formed the occasion for the performance. The opera was not played until the following day. See Corneilson, p. Xii.

Individual evidence

  1. ↑ a b c d e f g h i Silke Leopold : Ifigenia in Tauride. In: Piper's Encyclopedia of Musical Theater . Volume 3: Works. Henze - Massine. Piper, Munich / Zurich 1989, ISBN 3-492-02413-0 , pp. 635-637.
  2. ↑ a b c d e f g h Paul Corneilson (ed.): Gian Francesco de Majo - Ifigenia in Tauride (= Recent Researches in the Music of the Classical Era. Vol. 46). AR Editions, 1996, ISBN 0-89579-375-X ( limited preview in Google Book Search).
  3. ↑ Julie E. Cumming:  Iphigenia in Tauris. In: Grove Music Online (English; subscription required).
  4. ↑ a b c d The Mannheim Court Opera - experimental stage of the pre-classical period. In: Ifigenia in Tauride. Program of the Wuppertaler Bühnen, season 2008/2009.
  5. ↑ a b c Marita P. McClymonds:  Ifigenia in Tauride (ii). In: Grove Music Online (English; subscription required).
  6. ↑ Donald Jay Grout, Hermine Weigel Williams: A Short History of Opera. Fourth Edition. Columbia University Press, New York 2003, ISBN 0-231-11958-5 , p. 251.
  7. ^ Gian Francesco de Majo. In: Ifigenia in Tauride. Program of the Wuppertaler Bühnen, season 2008/2009.
  8. ^ Record of the performance on November 5, 1764 in the Corago information system of the University of Bologna .
  9. ^ Johann Jakob Wilhelm Heinse: Hildegard von Hohenthal as full text at Zeno.org .
  10. ^ Meike Nordmeyer: "Ifigenia in Tauride" celebrates its premiere. In: Westdeutsche Zeitung. October 9, 2008, accessed November 27, 2018.
  11. ↑ Ifigenia in Tauride by De Majo, Heidelberg 1999 at Premiereopera, accessed on November 28, 2018.
  12. ↑ Ifigenia in Tauride. Program of the Wuppertaler Bühnen, season 2008/2009.