Difference between revisions of "Ifigenia in Aulide (Antonio Caldara)"

Ifigenia in Aulide (Antonio Caldara) (view source)

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 The dilemma that King Agamemnon has to face in ''Iphigenia in Aulis'' is timeless. The price of power and the conflict between personal and public interests are frequent questions in Hollywood blockbusters so it's fair to say that the themes explored in ''Iphigenia in Aulis'' continue to be relevant even today.
-More than one Librettist clad ''Ifigenia in Aulide'' into new words ready for the operatic stage. Most famous is probably Christoph Willibald Gluck's setting, who used a libretto by François-Louis Gand Le Bland Du Roullet after Jean Racines' tragedy.<ref name="WikiGluck"/>
+More than one Librettist clad ''Ifigenia in Aulide'' into new words ready for the operatic stage. Most famous is probably Christoph Willibald Gluck's setting, who used a libretto by François-Louis Gand Le Bland Du Roullet after Jean Racines' tragedy.<ref name="WikiGluck"/> Zeno's own introduction (quoted in the section "Synopsis") shows how very well he was aware of other poets that reworked the subject before him, and also the respect he had for his colleagues, idols and predecessors.
 As Antonio Caldara was the first composer to set some opera's by Metastasio to music, he also gave life to Zeno's Ifigenia in Aulide. In 1718, Caldara's was its first setting to music; many were to follow. <ref name="Larousse"/>