3 immortal pieces from Gluck’s IPHIGENIE EN TAURIDE- the best interpretations in YouTube

“Iphigenia en Tauride”, together with his “Orfeo ed Euridice”, is Gluck’s greatest masterpiece. The melodies are unfussy and beautiful, the orchestration is gripping, the drama is coherent, and the three leads are compelling personalities and demand great, mature artists.

Iphigenia’s “O toi qui prolongea mes jours”

Iphigenia’s great da capo aria (A-B-A) in Act 1, “Ô toi, qui prolongeas mes jours” (“O you who once saved me”), with which she begs Diana to let her die, is marked by a plain and noble simplicity. It is an “Aria di cantilena” composed in slow tempo and with long lines, to sing with perfect legato.

O toi qui prolongea mes jours – Crespin

Pylades great aria ” Unis des la plus Tendre einfange”

Fritz Wunderlich was able to give this aria the shine it needs. The pain and confidence of Pylades get a wonderful nobility and intensity with Wunderlich.

Only one wish, only one desire – Wunderlich.

Iphigenia’s despairing “O malheureux Iphigénie”

“O malheureux Iphigénie” is a great Italian aria that Gluck presented to French audiences. It is the drama of the soul of Iphigenie.

We hear Maria Callas, who was an outstanding interpreter of Gluck’s works. She sang both Orfeo and Iphigenia on stage. Callas’ makes one feel the despair of Iphigenia in the most painful way, a haunting interpretation.

O malheureux Iphigénie – Callas