IPHIGÉNIE EN AULIDE — IPHIGÉNIE EN TAURIDE

3:30 pm, Wednesday 5 June: The choir of Le Concert d’Astrée has just arrived and is assembled in the ‘Big One’, the largest studio of the Grand Théâtre de Provence, for a rehearsal that marks a new phase in the rehearsal process. Stage director Dmitri Tcherniakov, renowned for his visionary approaches, greets the newcomers. The rehearsal — it is a scénique piano, as it is known in the world of opera, the purpose of which is to further explore the staging and make certain decisions before rehearsals with the orchestra begin — is focusing today on selected pieces from the two Iphigénie operas: in one of them, Iphigénie wanders among the choir, as if plunged into a nightmare. In a mix of French, English and Russian, the director becomes animated as he tries to convey the title role’s psychological state, being constructed week after week. He is assisted by Delia Roubtsova, his long-time collaborator, who provides partial translations and clarifies his remarks to the newcomers. Dmitri Tcherniakov gives the first placement instructions to the choir, specifying — with an extreme attention to detail, one of his defining traits — the speed and angle at which each person should turn, as Gluck’s overture plays on. Gripped by the image he himself is evoking, the director describes to the choir members, among the elements of the still rudimentary scenic design, the imaginary set that has already come to life in his head: ‘Here, imagine a very large scrim across the entire wall!’ ‘Turn slowly towards Iphigénie at a 20-degree angle!’ [...]

Last month, on 8 March (i.e. International Women’s Day), France Musique offered listeners a musical portrait of Emmanuelle Haïm in its programme Relax!, hosted by Lionel Esparza.