'Iphigénie en Tauride' review — this divine opera is utterly transporting

Read our review of Gluck's Iphigénie en Tauride, now in performances at the London Coliseum to 14 November.

Summary

• English National Opera stages Gluck's Iphigénie en Tauride
• This Greek myth adaptation sees Iphigénie forced into an agonising choice
• Christine Rice is beautifully lyrical in the title role
• Lyndsey Turner directs a phenomenal new production

Legendary English mezzo-soprano Chistine Rice is a beautifully lyrical Iphigénie, a character who also features in this year's smash-hit film The Odyssey, in French composer Christoph Willibald Gluck's rarely performed opera based on the Greek drama by Euripides. Regarded as Gluck's greatest work, it makes a phenomenal English National Opera premiere in a new production by Olivier Award-winning director Lyndsey Turner, conducted by Baroque specialist David Bates.

Greek goddess Diana transports Iphigénie to a temple on the remote island of Tauris after her Trojan War-waging father Agamemnon sacrifices her at Aulis. There she conducts rituals as a high priestess while tormented by dreams in which her mother Clytemnestra murders Agamemnon, then her brother Oreste kills Clytemnestra, and finally Iphigénie stabs Oreste. Two strangers (Oreste and his pal Pylade) are shipwrecked and King Thaos (velvety rich baritone Morgan Pearse) condemns them to death. Iphigénie can persuade Thaos to save only one of them – not knowing one is actually her brother.

Unusually, this isn't a tale of love between a man and woman. Instead it's about the bond between Oreste and Pylade, as conveyed by terrific tenor Nick Pritchard in Pylade's Act II aria "United from earliest childhood", a poignant reflection on friendship and shared sorrow. And at the emotional heart of the opera, there's an enduring love between brother and sister, with Iphigénie unable to sacrifice the stranger and Oreste struggling with his own grief, guilt and inner torment. Flashbacks of Oreste and Iphigénie as children, played endearingly by Zoe Houghton, who sings beautifully in the finale, and Travis Elliot-Smith, emphasises this familial attachment.

Baritone Jacques Imbrailo gives a standout performance as Oreste, particularly in his moving aria "Calm has returned to my heart" in Act IV. Other highights include Rice singing the opera's signature piece, "O unhappy woman", lamenting her cursed lineage to the echoing of oboes; Oliva Rose Tringham's powerful First Priestess; and booming bass Robert Winslade Anderson's small but mighty role as Royal Guard. Sometimes opera choruses don't feature a lot, but the compelling ENO chorus (directed by Matthew Quinn) contribute a great deal to the atmosphere and action of the piece.

Soutra Gilmour's set and costumes are simple and stripped-back, with purple robes for priestesses and a cauldron for sacrificial rites. Pools of delicious side light and candles (by Tim Mitchell) take us to the mysterious otherworldly land of the Gods.

Iphigénie isn't the only one conveyed to a different place. Bate's assured leadership of the ENO Orchestra on top form playing Gluck's rhythmic Bach-meets-Mozart music, which made the transition between baroque and classical opera in the second half of the 18th century, transports us to another realm. And as in every good Greek drama, the killings and gore conveniently happen off stage, while before us, there is divine hope and redemption.

Iphigénie en Tauride is at the London Coliseum to 14 November. Book Iphigénie en Tauride tickets on LondonTheatre.co.uk

Photo credit: Iphigénie en Tauride (Photos by Helen Murray)