Iphigénie en Tauride

Opera Atelier

Iphigénie en Tauride: Sublime Perfection from Opera Atelier

by Brian Hay

This production was as close to being perfect as a production can be. The work itself (by Christoph Willibald Gluck) is obscure but seeing it presented proves that it shouldn’t be. The story (adapted by François Guillard) has all the elements of a classical Greek Tragedy. Much of the music Gluck wrote for it is sublime. The sense of musical pacing he brought to the drama is superb. The panache the Tafelmusik Baroque Orchestra (under Andrew Parrot) brought to the more intense moments was riveting. The grace they brought to the more gentle content was heart-rending.

The overall look of the Production was stunning. Dora Rust D'Eye's striking costume designs used the style that's unique and familiar to the company. Choreographer Jeanette Lajeunnesse Zing made excellent use of the opportunities Gluck's score provide for dance. She also utilized some very subtle dance work within the scenes themselves. Fight Director Jennifer Parr's idea of using the swords to a counter the percussive work of the orchestra was brilliant. The set design was great. Gerard Gauci utilized one backdrop and a few props. Beyond that there was imaginative use of the curtain, some fabrics and little else. The lighting designs of Kevin Fraser worked with the set to give the production atmospheric depth that was brilliant. The transitions between scenes were seamless. Stage Manager Kat Chin and her crew did a magnificent job of setting those up.

The casting was flawless. Cassandra Warner didn't have much stage time as The Priestess but she was perfect when she made an appearance. Olivier Laquerre and Curtis Sullivan were rock solid in the roles of "Thoas" and "Le Ministre". Ambur Braid sang and acted the role of "Diane" beautifully. Thomas Macleay was a revelation. His acting in the role of "Pylade" was great. His singing was a revelation. He has an absolutely beautiful tenor voice.

The principles were equally strong. Peggy Kriha Dye was a very sympathetic "Iphigénie. Her performance was nicely understated and her singing was impeccable. Not enough can be said about Kresimir Spicer. He can project thunder or tenderness with deceptive ease. His acting is brilliant. And he has immense personal charisma. When he's on the stage it's impossible to keep your eyes off him. He is fantastic!

The only sad note about the evening was that the house wasn't nearly filled to capacity. Quite likely it's because the piece that was presented isn't well known. What's also likely was that most of the people who did attend were subscribers. This shouldn't be the case. Iphigénie is a masterpiece. The production itself is a triumph for Opera Atelier. Marshall Pynkoski is brilliant, both as an Artistic Director for the company and as the Director for their productions. He never lets a story drag. His sense of ensemble casting is magnificent. He gets the best possible work from the people who work with him. And he's committed to bringing the finest possible presentations of great works to the stage. One thing he won't do is abuse the trust his patrons have given him.

This production should be seen by everyone who can see it. People who like opera but haven’t seen it should take a chance. It’ll be worth their while.

Opera Atelier’s Production of “Iphigénie en Tauride” runs at the Elgin Theatre on October 31 and again on November 3 through November 7, 2009. This review pertains to the performance that took place on October 31, 2009.

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