Ho Ka Kei’s take on the last canonical part of the story of the House of Atreus; Iphigenia and the Furies (on Taurian Land) opened last night at the Aki Studio in a production directed by Jonathan Seinen. It’s a very funny and very thought provoking take on the story that will likely be best known to opera goers as the plot of Gluck’s Iphigénie en Tauride. I want to start with the three questions that the playwright set out to answer:
What does it mean for mainly POC’s and marginalized folks to be taking this tale on?
What do we gain/ what do we lose/ what may feel erased/ what is truly universal about this tale or is that an assumption due to its status in the canon?
When we end a cycle, say a cycle of vengeance, what other cycles emerge?
This interests me especially because I’m not in any real sense a marginalized person. Indeed I’m almost “archetypically” of the group that has made the classical canon its own; i.e a white male with a traditional classical education(1).
So here’s another Rossini one act farsa from Schwetzingen. It’s a 1990 La scala di seta in, inevitably, a production by Michal Hampe. It’s predictably pretty to look at and well constructed dramaturgically. The Paris background is a nice touch. There’s some fine singing and energetic fooling from Alessandro Corbelli as the servant Germano. The principal quartet of lovers; Luciana Serra, David Kuebler, Jane Bunnel and Alberto Rinaldi backed up by David Griffith as the girls’ guardian are stylish and toss off the various quick fire ensembles with aplomb. Gianluigi Gelmetti and the Radio-Sinfonieorchester Stuttgart round things out with an equally accomplished reading. So there it is, straightforward Rossini in a typical Hampe production pulled of nicely in Scwetzingen’s elegant rococo theatre.