Cavalli’s Ercole amante was written for the wedding of Louis XIV to Marie-Thérèse, a Habsburg princess. The marriage itself being the seal on the French victory over Spain in the war that had lasted until 1659. It’s an odd work considering. It’s not nearly as weird as, say, Il Giasone or La Didone but it’s hardly what one would expect for the nuptials of Le Roi Soleil. It’s clear from both the Prologue and the ending that Ercole is Louis but he’s also a most unlikeable character. In this version of the Hercules story he’s in love with his son’s (Hyllo) girlfriend (Iole) and will stop at nothing to bed her including casting off his wife (Deianira), imprisoning his son and bumping off Iole’s father. In the end he’s attacked by the spirits of various people he has wronged before succumbing to the trick with the centaur’s poisoned shirt. He’s made immortal and paired off with Hebe in the heavens but it’s hardly a tale of kingly virtue or marital fidelity. For good measure, along the way a good chunk of the Graeco-Roman pantheon make an appearance.
The second half of the Amsterdam double bill that opened with Iphigénie en Aulide is, of course, Iphigénie en Tauride. In this piece the more usual version of the Aulis story, where Diana substitutes a stag for Iphigenia on the altar and whisks the girl off to be her priestess among the savage Scythians of Tauris, is assumed. So the piece opens with Iphigenia and six other Mycenean priestesses (how they got to Tauris is a mystery) in Diana’s temple at Tauris where their job is to sacrifice any strangers who show up. Almost at once the capture of two Greeks is announced. They turn out to Iphigenia’s brother Orestes and his sidekick Pylades and the the next 90 minutes turns on Iphigenia failing to sacrifice either of them.
Gluck’s Iphigénie en Aulide is finally available on Blu-ray and DVD. It was staged and recorded as a double bill with Iphigénie en Tauride at De Nederlandse Opera in September 2011 in productions by Pierre Audi. It’s excellent in just about every respect. The cast is to die for, the production is interesting and so is the staging in the rather challenging space of The Amsterdam Music Theatre, which also poses problems for the video director. Backed up, on Blu-ray, by a 1080i picture and DTS-HD-MA sound it’s a pretty compelling package.
Rameau’s Castor et Pollux is a tragédie lyrique in five acts. It’s a mythology based libretto which, ultimately, celebrates the fraternal love of the twins who rise to immortality while rather callously discarding the female human love interest. Pierre Audi’s 2008 production for De Nederlandse Opera nods both to the baroque and to the mythological by staging the work in a rather abstract Sci-Fi sort of way but with moving sets and Fx that suggest, rather than reproduce, the stagecraft of the baroque.
Martin Kušej’s 2006 production of Shostakovich’s Lady Macbeth of the Mtsensk District for De Nederlandse Opera is occasionally puzzling but mostly brilliant. The performance, with a strong cast centering on Eva-Maria Westbroek’s Katerina, inspired conducting from Mariss Jansons and consistent excellence from the Royal Concertgebouw Orchestra in the pit and the Chorus of De Nederlandse Opera on stage is unbeatable. Combine that with decent video direction and superb audio-visual quality and the Opus Arte Blu-ray package becomes very attractive indeed.