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Updated: June 15, 2025
In 1774 the great composer Gluck, whose genius was destined to have such a profound influence on French music, came to Paris with his "Iphigenie en Aulide," by invitation of the Dauphiness Marie Antoinette, who had formerly been his musical pupil.
The attenuated chaperonage of the lady of the house may have been moved by a certain demonstrativeness of her son's at this point, to say from afar: "I hope we are going to have some 'Ifigenia in Aulide. Because I should have enjoyed that." Which carried an implication that the musical world had been palming off an inferior article on a public deeply impressible by the higher aspects of Opera.
Some of the Courtiers are dissatisfied at the Relaxation of Etiquette. Marie Antoinette is accused of Austrian Preferences. Settlement of the Queen's Allowance. Character and Views of Turgot. She induces Gluck to visit Paris. Performance of his Opera of "Iphigénie en Aulide." The First Encore. Marie Antoinette advocates the Re-establishment of the Parliaments, and receives an Address from them.
The libretto was thereupon written, or rather arranged from Racine's "Iphigénie en Aulide," and with this, Chevalier Gluck, lately made Knight of the papal order of the Golden Spur, set out for Paris. And now began a long season of hard work. The opera "Iphigénie" took about a year to compose, besides a careful study of the French language.
The first performance of Pelléas et Mélisande in Paris, on April 30th, 1902, was a very notable event in the history of French music; its importance can only be compared with that of the first performance of Lully's Cadmus et Hermione, Rameau's Hippolyte et Aricie, and Quick's Iphigénie en Aulide; and it may be looked upon as one of the three or four red-letter days in the calendar of our lyric stage.
A year or two later she was dancing in Paris to the accompaniment of the Colonne Orchestra, a good deal of the music of Gluck's Orfeo and the very lovely dances from Iphigénie en Aulide. In these she remained faithful to her original ideal, the beauty of abstract movement, the rhythm of exquisite gesture.
Strong criticism greeted it, to which he replied with "Iphigénie en Aulide," written in 1772, and performed for the first time in Paris two years later, under the auspices of Marie Antoinette, who had once been his pupil. It was followed by "Orpheus and Eurydice," adapted from his earlier work of the same name, which met with brilliant success. In 1777 he brought out "Armide."
Calchas stops the combat, saying that the gods are at length appeased; Iphigenia is restored to Achilles, and the opera ends with general rejoicings. 'Iphigénie en Aulide' gave Gluck a finer opportunity than he had yet had. The canvas is broader than in 'Alceste' or 'Orfeo, and the emotions are more varied.
His music proves that the French school had more influence upon his development than the Italian, so it was only natural that he should wish to have an opportunity of introducing his works to Paris. That opportunity came in 1774, when, after weary months of intrigue and disappointment, his 'Iphigéne en Aulide' was produced at the Académie Royale de Musique.
Quinault's Roland was arranged for him by Marmontel and was presented in 1778, unsuccessfully; Gluck presented his Iphigénie en Aulide, and no opera ever received such general approbation. "The scene was all uproar and confusion, demoniacal enthusiasm; women threw their gloves, fans, lace kerchiefs, at the actors; men stamped and yelled; the enthusiasm of the public reached actual frenzy.
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