* Notes *
The latest revival of the Metropolitan Opera's Iphigénie en Tauride on Saturday seemed under-rehearsed, but still has potential. There were many instances when the singers were not with the orchestra, especially as far as the chorus was concerned. Perhaps the elaborate choreography was to blame. The dancers here were more together than in Seattle Opera's 2007 version. Thomas Lynch's set does look more open from the last row of the Met than in orchestra standing room at McCaw Hall. Thomas Wadsworth's production is cluttered, and one gets the sense that he is worried his audience either does not understand what is going on or is in danger of becoming very bored. In any case, the orchestra sounded fluid under Maestro Patrick Summers.
The main cast had a lot of power, and everyone could be heard. Susan Graham may have had poor start in the title role, but did sound lovely in "Ô malheureuse Iphigénie" at the end of Act II. There were moments of roughness later in the evening, but Graham does have a glowing, beautiful sound. Plácido Domingo was strong as Orest, his reediness as a tenor was not distracting, and he was distinct from Paul Groves (Pylade). Groves sang "Unis dès la plus tendre enfance" particularly well. As Thoas, Gordon Hawkins managed to sing his high notes smoothly, and was robust throughout his range.
* Tattling *
Standing room in the Family Circle was nearly empty, as most everyone could take a seat in the last few rows, which were far from full.
I am sorely tempted to hear the Met in HD broadcast of this opera on February 26th.
