Creator: Euripides
Ευριπίδης
Work Type: Tragedy
Description:
Iphigenia in Tauris is a tragedy by the ancient Greek playwright Euripides, written between 414 and 412 BCE. The play tells the story of Iphigenia, who was supposedly sacrificed by her father Agamemnon but was actually saved by the goddess Artemis. Artemis transported Iphigenia to Tauris (modern Crimea), where she becomes a priestess at the temple, tasked with sacrificing foreigners.
The plot unfolds when Iphigenia’s brother, Orestes, arrives in Tauris with his friend Pylades. They are on a mission, commanded by Apollo, to retrieve a sacred statue of Artemis to lift the curse of the Furies from Orestes. Upon arrival, Orestes and Pylades are captured and brought to Iphigenia for sacrifice. In a dramatic recognition scene, Iphigenia and Orestes realize their sibling relationship.
The siblings devise a plan to escape together with the statue. They trick King Thoas, ruler of Tauris, into believing that the statue needs to be purified due to pollution from the foreigners. The plan is successful, and they make their escape. The play concludes with a divine intervention by the goddess Athena, who ensures their safe passage back to Greece and ordains that Iphigenia will serve as a priestess in a new temple.
Euripides’ work explores themes of family, identity, and the influence of the gods on human fate. Iphigenia in Tauris stands out for its focus on emotional and psychological elements, diverging from traditional tragic narratives that emphasize catastrophic downfall. The play has been praised for its intricate plot and character development, particularly the emotional reunion between Iphigenia and Orestes.
Relationship to Sicilianos's Work:
Yorgos Sicilianos provided the incidental music for the Greek National Theatre’s production of Iphigenia in Tauris.
Stasimon B’ represents the composer’s effort to revive a fragment of ancient tragedy with modern musical means, utilising the distinctiveness of ancient Greek texts to create a unified musical piece in terms of rhythm, pitch, and form. A serial mechanism captures the nuances of each word’s melody and rhythmic variety, essential for maintaining the beauty of Euripides’ tragic language. The stasimon from “Iphigenia in Tauris” reflects the chorus’ mixed emotions as they rejoice in Iphigenia’s impending return to Greece while lamenting their own unending captivity.
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YSC64 |
Stasimon B' |
from Euripides "Iphigeneia in Tauris" for Mezzo-Soprano, Women's Choir and Orchestra |
25 |
2222-4231, Timpani, Percussion (Xylophone, Vibraphone, Metallophone or Glockenspiel, Marimba, Snare Drum, Cymbals, Suspended small Cymbal, Suspended large Cymbal, Tam-Tam, Triangle, Bass Drum), Harp, Celesta, Strings, Mezzo-Soprano, Female Choir (21 sopranoes, 21 mezzo-sopranos) |
Iphigenia in Tauris – lines: 1089-1151 |
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2 |
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YSC54 |
Iphigenia in Tauris |
Incidental music |
18 |
Clarinet (or Alto Saxophone in Eb), Bassoon, Horn in F, Trumpet in C, Trombone, Percussion (2 Performers: Timpani, Bass Drum, Piccolo Snare, Snare Drum without snares), Piano, Double Bass |