IPHIGENIA IN AULIS.
Grand Opera in three acts by GLUCK.
Text of the original rearranged by R. WAGNER.
This opera, though it does not stand from the point of view of the artist on the same level with Iphigenia in Tauris, deserves nevertheless to be represented on every good stage. It may be called the first part of the tragedy, and Iphigenia in Tauris very beautifully completes it. The music is sure to be highly relished by a cultivated hearer, characterized as it is by a simplicity which often rises into grandeur and nobility of utterance.
The first scene represents Agamemnon rent by a conflict between his duty and his fatherly love; the former of which demands the sacrifice of his daughter, for only then will a favorable wind conduct the Greeks safely to Ilion. Kalchas, the High-priest of Artemis, appears to announce her dreadful sentence. Alone with the King, Kalchas vainly tries to induce the unhappy father to consent to the sacrifice.
Meanwhile Iphigenia, who has not received Agamemnon's message, which ought to have prevented her undertaking the fatal journey, arrives with her mother Klytemnestra. They are received with joy by the people. Agamemnon secretly informs his spouse, that Achilles, Iphigenia's betrothed, has proved unworthy of her, and that she is to return to Argos at once.—Iphigenia gives way to her feelings. Achilles appears, the lovers are soon reconciled and prepare to celebrate their nuptials.
In the second act Iphigenia is adorned for her wedding and Achilles comes to lead her to the altar, when Arkas, Agamemnon's messenger, informs them that death awaits Iphigenia.
Klytemnestra in despair appeals to Achilles and the bridegroom swears to protect Iphigenia. She alone is resigned in the belief, that it is her father's will that she should face this dreadful duty. Achilles reproaches Agamemnon wildly and leaves the unhappy father a prey to mental torture. At last he decides to send Arkas at once to Mykene with mother and daughter and to hide them there, until the wrath of the goddess be appeased. But it is too late.
In the third act the people assemble before the Royal tent and with much shouting and noise demand the sacrifice. Achilles in vain implores Iphigenia to follow him. She is ready to be sacrificed, while he determines to kill anyone, who dares touch his bride. Klytemnestra then tries everything in her power to save her. She offers herself in her daughter's stead and finding it of no avail at last sinks down in a swoon. The daughter, having bade her an eternal farewell, with quiet dignity allows herself to be led to the altar. When her mother awakes, she rages in impotent fury; then she hears the people's hymn to the goddess, and rushes out to die with her child.—The scene changes.—The High-priest at the altar of Artemis is ready to pierce the innocent victim. A great tumult arises, Achilles with his native Thessalians makes his way through the crowd, in order to save Iphigenia, who loudly invokes the help of the goddess. But at this moment a loud thunder-peal arrests the contending parties, and when the mist, which has blinded all, has passed, Artemis herself is seen in a cloud with Iphigenia kneeling before her.
The goddess announces that it is Iphigenia's high mind, which she demands and not her blood, she wishes to take her into a foreign land, where she may be her priestess and atone for the sins of the blood of Atreus.
A wind favorable to the fleet has risen, and the people filled with gratitude and admiration behold the vanishing cloud and praise the goddess.