Iphigenie: The Morning After

So it’s a day after our coup de review. I could only find two other reviews of The Met’s Iphigenie en Tauride this A.M. (Feel free to point us toward any we overlooked.)

First up, T-Bone Tommasini at The Times. His review is really heavy on the history. Then he lays on the synopsis. And when he finally gets to reviewing the actual production, he’s pretty spot on. He also gets props for capitalizing on a chance to use the word “russet.” If you have a chance, listen to the first audio excerpt. It has the part we wrote about where the women’s chorus joins Iphi on a high note. It doesn’t sound quite as magical as it did in the theater, but you’ll get the idea.

The second review comes from Jay Nordlinger at The New York Sun. I probably should have read him first, cuz after reading T-Bone’s intelligent, lyrical prose, Nordlinger’s writing sounds all choppy and retarded. But I’ll give him props for his shout out to Lisette Oropesa, which we did too!

Both T-Bone and Nordi take the this is an overlooked work of genius that should be performed again and again line. I think there’s still room for improvement. And you know how we feel: the last thing we need is another old opera to hog the spotlight from new composers and new works. But that’s just us, apparently.


  1. Hi counter critic,
    I have recently found several of your posts that include ideas and observations about me, and I am flattered by all the positive attention! Thanks for all the kind things you’ve said, and even for the constructive criticism. I still consider myself very much a student, and will always. I appreciate your observations. Languages do take a long time to perfect, and I work on them every day. I assume from a couple of your comments that you have taken many years to learn them enough to be able to speak in them perfectly, and therefore to understand them perfectly. I must admit that although I was born in The United States, my first language was not English, in fact, and I grew up speaking Spanish (check out my last name), and even learning French all through school.
    Nonetheless, native speakers are a wonderful commodity to have working with us here at the Met, and believe me, every production that is mounted here is strictly coached. Again, being a student, I am eager to continue to learn and grow as an artist in every way, and I assure you that any Americanisms or mispronunciations would have been pointed out to me by my coaches. Since they weren’t, on the occasions that you pointed out, I would be curious to know what your ear detected, as voices travel in different ways, to different points in the house. I guess even a Met coach can’t be everywhere in the house at once! If you would like, I can send you the short text of my lines in IPHIGÉNIE, and you can point out to me which words came across funny, so that I will know for the future, whenever I sing in French.

    Thank you again for your enthusiasm about all the wonderful opportunities I have been given in this crazy world of opera!

    Lisette Oropesa

  2. Lisette!!! We totally love you, girl! In fact, you can consider us a huge-ass fan. C.C. did, in fact, major in music and studied classical voice. So yea, we know what we’re talking about.

    We’re gonna go offline with the rest of our comment. But believe us when we say that we are blushing!

    Thanks for writing in.


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