Iphigénie en Tauride

Lyric Opera of Melbourne continues to lead the way with innovative productions of forgotten operas. I had never encountered this Gluck masterpiece, but was blown away by the drama and the beauty and strength of the music.           

However, it was the exciting production which I will remember.

As we entered the theatre the corridor was lined by members of the ensemble in ghoulish makeup and strange poses. They retained these poses throughout the opera which gave is a zombie-like feel. They then followed the audience in, standing across the front of the stage and on cue they tore down the clear plastic sheeting hanging from the ceiling.

Chapel off Chapel is just a flat space with raked seating, but a stage had been built around the sides of the area with the orchestra on the floor in the middle. It worked very well and kept the singers in close contact with the conductor.

The title role is a tour de force, and mezzo Caroline Vercoe more than matched the challenges presented both dramatically and vocally. On stage for most of the night, she never tired and continued to produce a full lovely tone.

Revelation of the evening was baritone, Michael Lampard, who recently relocated from Tasmania. I have heard him in concert, but this did not prepare me for the power of voice and presence he brought to the operatic stage in the role of Orestes. As his servant Pylades, Paul Biencourt’s light tenor rang out confidently and was not overwhelmed.

The lighting was effective and the costuming military for the males and simple white for the females. The ensemble was totally involved with the action and it made for a powerful night at the theatre.

Not to be missed.

Graham Ford