761:
677:
116:
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741:(1774). Beginning work in 1778, Gluck collaborated closely with the young poet Nicolas-François Guillard, who based his libretto on Guimond de la Touche's play. De la Touche's work had been praised for its simplicity, but Gluck and his librettist simplified the drama even further. Their main innovations were to begin the opera with a storm (which would have been more difficult in a spoken drama) and to delay the recognition until the finale.
2517:
708:(1787). However, the most important as far as Gluck is concerned – because it formed the basis of Guillard's libretto – is Guimond de la Touche's spoken tragedy, which premiered in Paris on 4 June 1757. De la Touche's play was such a success that it was transferred to Vienna in 1761. It contributed to a vogue for the Tauris story in the city. In 1763 a "reform opera" on the subject by
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2332:
617:). When Iphigenia returns, Orestes insists that she reverse her decision, threatening to kill himself before her eyes if she does not. Reluctantly, she agrees to spare Pylades instead and sends him to carry her message to Electra. Everyone but Pylades departs, and he closes the act by promising to do everything possible to save Orestes (
720:, appeared on the Viennese stage. Coltellini's and Traetta's ideas on how to reform opera were similar to Gluck's and Gluck himself conducted the work in 1767. Gluck may have wanted to compose his own reform opera on the Tauris theme but Traetta's opera made this impossible for the time being. Instead, in 1765 Gluck composed a ballet,
533:). After Iphigenia and the priestesses depart, Thoas brings in the Greeks, who turn out to be Orestes and his friend Pylades. After asking them for what purpose they came (they have come to retrieve Diana's statue and return it to Greece, though they do not divulge this), Thoas promises them death and has them taken away.
773:
The borrowings Gluck made in this, his last significant opera, are numerous, and many scholars feel that they constitute a "summing up" of the artistic ideals he pursued throughout his career as a composer. Recycling music was common practice among 18th century composers. Gluck knew that his earlier
222:
on 7 April 1796. The original French version eventually proved to be one of Gluck's most popular composition in Paris: "it was billed on 35 dates in 1779, and it went on to enjoy more than four hundred representations in 1781–93, 1797–1808, 1812–18, 1821–23, 1826–28, and 1829. It was mounted at the
936:
has inspired, for the end of this tragedy, a ballet which was a sort of continuation thereof. The defeated
Scythians in chains are presented to Orestes, who gives them their freedom. They rejoice with the Greeks. The ballet ends with the removal of the statue of Diana, the sole object of the voyage
782:
he had written for Vienna were never likely to be played again, whereas the French had a tradition of keeping successful operas in the repertory. Recycling was thus a way of saving some of his most outstanding musical ideas. Most of the reused music is Gluck's own, culled from his earlier operas or
650:
The happy reunion of sister and brother is cut short at news that Thoas is coming, having heard that one of the captives was released and intent on the blood of the other. The king enters wildly, ordering his guards to seize
Orestes and promising to sacrifice both him and his sister. At that moment
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Iphigenia enters and, although the two do not recognize each other, Orestes sees an astonishing likeness between her and the slain
Clytaemnestra seen in his dream. She questions him further, asking him the fate of Agamemnon and all Greece, and he tells her of Agamemnon's murder by his wife, and the
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accent at the first beat of every measure, betrays the troubled state of his mind, from which he cannot banish the pangs of remorse for his past crime. It is perhaps the first occurrence in opera of this device of using the orchestra to reveal the inward truth of a situation, in distinction from,
664:). She also issues pardon to Orestes for murdering his mother, sending him to be king over Mycenae and bidding him restore Iphigenia to her country. As Diana is carried back into the clouds, everyone sings a concluding chorus of rejoicing at having the favor of earth and heaven restored to them (
916:(an opportunity for dance and spectacle): the chorus and dance of the Scythians in the "Turkish" style at the end of the first act. This was so out of the ordinary that, after the first five performances, with Gluck's acquiescence, the authorities of the Paris Opéra added ballet music by
608:
But on her exit, Orestes insists that
Pylades agree to switch places with him as Orestes cannot bear the thought of his friend's death and sees dying as an escape from his own madness; Pylades, on the contrary, is glad at the thought of dying so Orestes can live (Duet:
503:, is the high priestess of Diana in the temple of Tauris, having been transported there magically by the goddess when her father Agamemnon attempted to offer her as a sacrifice. Iphigenia and her priestesses beg the gods to protect them from the storm (
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and the replacement of the final chorus of Act 2 with an instrumental movement. The revised version was the only opera Gluck wrote in German, and his last work for the stage. Styled "a tragic
Singspiel", it was staged on 23 October 1781 at the
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renamed after dismissing the
Italian singers and their orchestra in 1776 and installing German actors in the theatre. When the meagre results achieved by the new Singspiel programmes led the emperor to back down, getting an Italian
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describes it: "Orestes, left alone after
Pylades has been arrested by the temple guards, falls into a half stupor; in pitiable self-delusion he tries to encourage the feeling of peace that descends on him momentarily, singing
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was an innovative libretto in the history of opera. Michael Ewans has commented, "Gluck's most radical 'reform opera' even dispenses with a love interest. Romantic interest is peripheral to Greek drama, but
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was later to incorporate into a complete system." When a critic complained about the contradiction between
Orestes' words and the musical accompaniment, Gluck replied: "He's lying: he killed his mother."
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Iphigenia wonders how she can ever carry out the killing of
Orestes, since somehow her soul shrinks from the thought of it. She asks the goddess Diana to help her steel herself for the task (
166:, with the libretto translated and adapted by Johann Baptist von Alxinger in collaboration with the composer. Among the major changes was the transposition of the role of Oreste from
1253:
the original version was revived at the
Metropolitan Opera in the 2010/11 season. The 26 February performance was transmitted live in movie theaters around the world as part of "
735:
It was only after he moved to Paris that Gluck finally had the opportunity to set the Tauris story and then only after he had composed another opera on the Iphigenia theme,
803:, featuring a storm followed by a calm. Gluck's major innovation was to reverse the order of the movements so the opera opens with the calm which then turns into a storm (
643:). He tells her not to lament him, but to strike, telling her it is the will of the gods. The priestesses sing a hymn to Diana as they lead Orestes to the altar (Chorus:
567:
wife's murder by her son. In agitation, she asks of the fate of the son, and Orestes says that the son found the death he had long sought, and that only their sister
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murdering her father, then her brother Orestes killing her mother, and finally her own hand stabbing her brother. She prays to Diana to reunite her with Orestes (
141:, an Italian composer also resident in the French capital, by asking them both to set an opera on the subject of Iphigenia in Tauris. In the event, Piccinni's
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2123:
259:
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remains alive. Iphigenia sends Orestes away and with her priestesses laments the destruction of her country and the supposed death of her brother (
647:). While she wields the knife, Orestes exclaims Iphigenia's name, leading her and the priestesses to recognize him and stop the ritual slaughter.
2018:
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2567:
2557:
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270:. Strauss's version was quite often performed at the beginning of the twentieth century and was also used for the work's première at the
2143:
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and was a great success. Some think that the head of the Paris Opéra, Devismes, had attempted to stoke up the rivalry between Gluck and
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with its 576 representations in much the same interval, 1787 to 1830 (583 within 1844 when it was definitively dropped, too; Lajarte,
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1696:
495:
There is no overture; the opera begins with a short passage evoking calm before turning into a depiction of a great storm at sea.
2116:
1170:, among Gluck's works, scored a higher number of performances, 428, in the interval 1774 to 1824, before being dropped (Lajarte,
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752:, 'the first opera without love to exist in our theatres' must be one of the few major operas to forego the theme altogether."
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1202:
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undertaken by Orestes and Pylades. The music is by Gossec. The tunes seemed well suited to the ways of the two united peoples.
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A chorus of Scythians comes bringing news of two young Greeks who have just been found shipwrecked, demanding their blood (
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24:
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Although the storm dies down, Iphigenia remains troubled by a dream she has had, in which she envisioned her mother
522:): the oracles, he tells her, predict doom for him if a single stranger escapes with his life. (The custom of the
283:
20:
2542:
2189:
287:
1718:
2042:
1654:
The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815
694:. Because of its simplicity and heroic themes this work had a particular appeal for 18th-century proponents of
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224:
210:'s "reminiscences" this production, too, was personally supervised by Gluck. The German edition was revived in
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182:
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231:(1900). It was brought to the stage of the present opera house in Paris on 27 June 1931 with the aid of the
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1985:
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took those of Iphigenia and Orestes as they had done in the German version. The part of Thoas was sung by
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Orestes and Pylades languish in chains. Orestes berates himself for causing the death of his dear friend (
61:
2237:
2213:
2026:
1621:
1054:"despite the phenomenal success of and national sentiment against foreign spectacles" (Brown, cf. below)
563:, who wish to avenge his slaying of his mother (whom Orestes killed for murdering his father Agamemnon).
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1198:
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2197:
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967:. But the accompaniment, with a subdued, agitated, sixteenth-note reiteration of one tone, and with a
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on 24 February 1795, while Da Ponte's translation was chosen for the London first performance at the
53:
917:
2181:
1210:
760:
219:
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1774:
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597:). She tells Orestes and Pylades she can persuade Thoas to save one of them from the sacrifice (
1978:
1935:
1604:
2402:
2293:
1878:
1455:
1323:
Moreau's alleged first name, Jean-Pierre, is reported solely by the Casaglia, Gherardo (2005).
1266:
1185:
1171:
1166:
1161:
737:
85:
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1642:
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was not premiered until January 1781 and did not enjoy the popularity that Gluck's work did.
134:
275:
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1206:
551:), but Pylades assures him that he does not feel dispirited because they will die united (
8:
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1960:
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Reminiscences of Michael Kelly, Of the King's Theatre, and Theatre Royal Drury Lane (...)
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526:, who inhabit Tauris, is to ritually sacrifice any who are shipwrecked on their shores).
91:
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1693:
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and there were several dramatic versions in the late 1700s, the most famous of which is
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1861:
1791:
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601:) and asks the one who is spared to carry word of her fate to her sister Electra in
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1916:
1749:
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1475:
1175:
1063:
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639:). The priestesses bring in Orestes, who has been prepared for sacrifice (Chorus:
555:). A minister of the sanctuary comes to remove Pylades. Orestes half falls asleep (
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The opera contains "Gluck's most famous piece of psychological instrumentation",
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709:
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appearance of Diana, who commands the Scythians to restore her statue to Greece (
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151:
40:
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An 1805 French edition of De la Touche's play is accessible for free online in
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724:, which has many points in common with it and he reused some of the music from
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80:
130:
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This article is about the opera by Gluck. For the opera by André Campra, see
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As for the Da Ponte Italian version, there was a "memorable" staging at the
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2205:
1849:
1825:
1789:
1745:
1726:
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Iphigenia is drawn to the stranger who reminds her of her brother Orestes (
310:
1897:
680:
Ancient Greek vase showing Orestes and Pylades meeting Iphigenia in Tauris
651:
Pylades enters with a band of Greeks, cutting down Thoas where he stands.
1953:
1552:
Cumming, Julie E., "Gluck's Iphigenia Operas: Sources and Strategies" in
1104:
518:). Thoas, King of Tauris, enters. He too is obsessed with dark thoughts (
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191:
176:
83:
accompaniment). The normal dance movements that one finds in the French
104:
72:
1487:
1459:
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for the Furies in act 2, but this is fully integrated into the action.
1079:
Tim Carter, "Da Ponte, Lorenzo", in Sadie, Vol. One, pp. 1073 and 1075
89:
are almost entirely absent. The drama is ultimately based on the play
79:(i.e. the strings and perhaps other instruments are playing, not just
2221:
1831:
1819:
1810:
1802:
685:
523:
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446:
338:
236:
100:
96:
1755:
Portrait of the opera in the online opera guide www.opera-inside.com
605:. Both men readily agree, and Iphigenia chooses Orestes to survive.
1479:
575:). She and the priestesses perform a funeral ceremony for Orestes (
373:
167:
57:
1599:
From Garrick to Gluck: Essays on Opera in the Age of Enlightenment
1091:, London, Colburn 1826, I, p. 254, (accessible for free online at
972:
even in contradiction to, the words of the text – a practice that
274:
in 1916, but is by now rarely heard. It was recorded in 1961 with
1843:
1837:
862:
654:
The resulting rout of the Scythians by the Greeks is halted by a
568:
500:
414:
390:
364:
347:
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Some music in the climactic final scene of act 4 was taken from
2309:
699:
560:
255:
211:
202:
translation of Gluck's opera, which was staged in the restored
163:
56:
in four acts. It was his fifth opera for the French stage. The
71:
Gluck took his operatic reform to its logical conclusion. The
1565:
Opera from the Greek: Studies in the Poetics of Appropriation
858:
488:
399:
377:
171:
49:
2516:
924:'s choreography. Which was commented upon as follows in the
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made a new German arrangement of the work for the publisher
198:
as his theatre poet, the latter was charged to prepare an
1537:, Milan, Baldini Castoldi Dalai, 2007, pp. 663–665,
1095:). Kelly relates he performed the role of Pylades, while
866:
791:
is actually Gluck borrowing from himself borrowing from
1460:"Gossec et Gluck à l'Opéra de Paris: Le Ballet final d'
1238:
35° Festival della Valle d'Itria: Iphigenie auf Tauris
932:
The public’s fondness for the superior talent of the
2505:
1229:
1227:
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has counted exactly 408 dates in the said interval (
470:
Pylades and Orestes brought as victims to Iphigenia
99:which deals with stories concerning the family of
1224:
857:, inspired (consciously or unconsciously) by the
795:. This is a complete list of Gluck's borrowings:
214:at the former Königliches Nationaltheater in the
2529:
1641:, volume 1 . Paris: Librairie des Bibliophiles.
1533:, in Piero Gelli and Filippo Poletti (editors),
206:, on 14 December 1783. According to Irish tenor
1428:
1426:
1424:
1422:
869:825) by Bach, originally appeared as the aria
825:Music for the Furies in act 2 from the ballet
286:, Lisbon. It was recently revived at the 2009
2131:
2117:
1775:
1174:). Both, however, were largely outclassed by
1045:Krause, p. 14, Rushton, p. 14, Holden, p. 371
1419:
787:. In at least one case, however, an aria in
1639:Bibliothèque musicale du Théâtre de l'Opéra
2124:
2110:
1782:
1768:
1383:
1242:"Salentonline.it – il portale del Salento"
129:was first performed on 18 May 1779 by the
1577:(Columbia University Press, 2003 edition)
559:), but he is tormented by visions of the
23:. For the opera by Niccolò Piccinni, see
2563:Opera world premieres at the Paris Opera
1140:
1138:
1115:, Volume 68, 2007; accessibie online at
850:from the middle section of the same aria
759:
675:
599:Je pourrais du tyran tromper la barbarie
460:
114:
1454:
1132:, London, Bentley, 1865, p. 139 (note)
16:1779 opera by Christoph Willibald Gluck
2530:
1662:, booklet to Minkowski's recording of
1317:
903:
110:
2573:Libretti by Nicolas-François Guillard
2105:
1763:
1135:
778:-language operas and the ballets and
768:
764:Title-page of the first printed score
684:The ultimate source of the drama was
662:Arrêtez! Écoutez mes décrets éternels
194:company recruited again and engaging
119:Title page of the German libretto of
39:
1591:, New York: G.P. Putnam's Sons, 1997
1113:Dizionario Biografico degli Italiani
611:Et tu prétends encore que tu m'aimes
505:Grands dieux! soyez nous secourables
330:Premiere cast, 18 May 1779
2568:Operas based on Iphigenia in Tauris
2558:Operas based on classical mythology
2538:Operas by Christoph Willibald Gluck
2374:(1765, unperformed in his lifetime)
1331:. L'Almanacco di Gherardo Casaglia
1292:. L'Almanacco di Gherardo Casaglia
483:The entrance hall of the temple of
13:
1611:, New York: Penguin Putnam, 2001.
1560:(Cambridge University Press, 1995)
1107:Stefano Mandini (Federico Pirani,
14:
2584:
1682:
1675:The New Grove Dictionary of Opera
2515:
2488:
2487:
2423:
2330:
1197:in fact, it was not the present
987:Iphigénie en Tauride discography
887:Les dieux, longtemps en courroux
666:Les dieux, longtemps en courroux
615:Ah! mon ami, j'implore ta pitié!
278:in the title role, conducted by
1678:(Oxford University Press, 1997)
1507:
1494:
1448:
1435:
1410:
1401:
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1361:
1352:
1338:
1308:
1299:
1274:
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1247:
1215:
1191:
1151:
1122:
956:"Le calme rentre dans mon cœur"
841:Se mai senti spirarti sul volto
595:D'une image, hélas! trop chérie
553:Unis dès la plus tendre enfance
95:by the ancient Greek dramatist
25:Iphigénie en Tauride (Piccinni)
1740:'s plot synopsis accompanying
1708:at the Lyric Opera of Chicago
1209:, which is today known as the
1082:
1073:
1057:
1048:
1039:
1030:
1021:
1012:
1003:
908:Unusually for a French opera,
848:Contemplez ces tristes apprêts
577:Contemplez ces tristes apprêts
557:Le calme rentre dans mon coeur
543:An inner chamber of the temple
516:Ô toi qui prolongeas mes jours
449:, priestesses of Diana, Greeks
1:
1148:", in Sadie, Vol. Two, p. 819
1070:, in Sadie, Vol. Four, p. 993
1027:Rushton, booklet notes, p. 14
991:
980:
965:Le calme rentre dans mon cœur
284:Teatro Nacional de São Carlos
158:for the visit of the Russian
21:Iphigénie en Tauride (Campra)
2022:(1699, Desmarets and Campra)
1986:The Killing of a Sacred Deer
1407:Rushton, booklet notes p. 16
799:Introduction: Overture from
288:Festival della Valle d'Itria
254:, which was later staged in
7:
1609:The New Penguin Opera Guide
1558:Opera and the Enlightenment
1443:ballet-pantomime de terreur
671:
456:
243:conducting the orchestra".
10:
2589:
2198:La Semiramide riconosciuta
1567:(Ashgate Publishing, 2007)
1535:Dizionario dell'opera 2008
1280:Casaglia, Gherardo (2005).
1130:A General History of Music
984:
855:Je t'implore et je tremble
641:Ô Diane, sois nous propice
637:Je t'implore et je tremble
631:Inside the temple of Diana
619:Divinité des grandes âmes!
305:conducting the orchestra,
262:on 9 June 1900, under the
18:
2483:
2460:
2442:
2190:Le nozze d'Ercole e d'Ebe
2157:
2139:
2133:Christoph Willibald Gluck
2076:
2010:
1999:
1970:
1945:
1927:
1908:
1889:
1870:
1859:
1809:
1589:The New Kobbés Opera Book
1271:(accessed 26 August 2011)
807:has no overture as such).
444:
150:In 1781 Gluck produced a
75:are shorter and they are
62:Nicolas-François Guillard
54:Christoph Willibald Gluck
2238:L'innocenza giustificata
1575:A Short History of Opera
912:contains only one short
755:
624:
582:
536:
476:
316:
282:, in performance at the
103:in the aftermath of the
41:[ifiʒeniɑ̃toʁid]
1656:(Greenwood Press, 1985)
1601:(Pendragon Press, 2004)
833:O malheureuse Iphigénie
812:Dieux qui me poursuivez
573:Ô malheureuse Iphigénie
549:Dieux qui me poursuivez
531:Il nous fallait du sang
520:De noirs pressentiments
425:Jean-Pierre (?) Moreau
2543:French-language operas
1979:Bash: Latter-Day Plays
1936:The Songs of the Kings
1545:(reproduced online at
1529:Francesco Blanchetti,
1314:Harewood and Peattie,
952:
918:François-Joseph Gossec
871:Perchè, se tanti siete
765:
681:
645:Chaste fille de Latone
613:and aria for Pylades:
473:
154:version of the opera,
123:
2347:La rencontre imprévue
2182:La caduta de' giganti
1500:Accessible online at
985:Further information:
949:(3 June 1779, p. 619)
930:
793:Johann Sebastian Bach
763:
679:
464:
223:Châtelet (1868), the
135:Salle du Palais-Royal
118:
2419:Iphigénie en Tauride
2339:Il trionfo di Clelia
2149:List of compositions
2066:Iphigénie en Tauride
2051:Iphigénie en Tauride
2019:Iphigénie en Tauride
1734:Iphigenie en Tauride
1719:June 2007 production
1706:2006-2007 production
1531:Iphigénie en Tauride
1468:Revue de Musicologie
1462:Iphigénie en Tauride
1367:Cumming, pp. 224–227
1358:Cumming, pp. 222–223
1268:Operadis discography
1244:, Clio S.p.A. Lecce.
1205:in its venue on the
1146:Iphigénie en Tauride
922:Jean-Georges Noverre
920:to the finale, with
805:Iphigénie en Tauride
789:Iphigénie en Tauride
750:Iphigénie en Tauride
745:Iphigénie en Tauride
730:Iphigénie en Tauride
705:Iphigenie auf Tauris
309:as the director and
268:Iphigenie auf Tauris
156:Iphigenia in Tauris,
144:Iphigénie en Tauride
127:Iphigénie en Tauride
121:Iphigénie en Tauride
77:récitatif accompagné
32:Iphigénie en Tauride
2403:Iphigénie en Aulide
2270:La Cythère assiégée
2214:La clemenza di Tito
2085:Iphigenia in Tauris
2043:Ifigenia in Tauride
2035:Ifigenia in Tauride
2027:Ifigenia in Tauride
2002:Iphigenia in Tauris
1961:Alcmaeon in Corinth
1879:Iphigénie en Aulide
1798:Iphigenia in Tauris
1723:San Francisco Opera
1255:The Met: Live in HD
1211:Théâtre de la Ville
1199:Théâtre du Châtelet
1167:Iphigénie en Aulide
1101:Valentin Adamberger
904:Innovative features
837:La clemenza di Tito
738:Iphigénie en Aulide
718:Ifigenia in Tauride
712:with a libretto by
691:Iphigenia in Tauris
589:Iphigenia's chamber
313:in the title role.
266:-inspired title of
111:Performance history
92:Iphigenia in Tauris
86:tragédie en musique
46:Iphigenia in Tauris
2355:Il Parnaso confuso
2286:Le diable à quatre
1862:Iphigenia in Aulis
1792:Iphigenia in Aulis
1712:2006-10-01 at the
1699:2019-03-05 at the
1441:There is also the
1327:Jean-Pierre Moreau
1128:Joseph Schlüters,
1097:Antonia Bernasconi
769:Gluck's borrowings
766:
682:
474:
343:Priestess of Diana
280:Antonio de Almeida
276:Montserrat Caballé
272:Metropolitan Opera
178:Nationalhoftheater
124:
2503:
2502:
2387:Le feste d'Apollo
2326:Orfeo ed Euridice
2302:L'ivrogne corrigé
2262:La fausse esclave
2099:
2098:
2095:
2094:
1995:
1994:
1742:Royal Opera House
1694:MetOpera database
1666:(see discography)
1635:Lajarte, Théodore
1543:978-88-6073-184-5
1378:Mercure de France
1376:Ewans quotes the
1207:Place du Châtelet
934:principal dancers
865:no. 1 in B Flat (
454:
453:
357:Rosalie Levasseur
299:Teatro alla Scala
181:, as the emperor
2580:
2520:
2519:
2511:
2491:
2490:
2468:Alfred Wotquenne
2432:Écho et Narcisse
2427:
2334:
2294:L'arbre enchanté
2126:
2119:
2112:
2103:
2102:
2069:(1781, Piccinni)
2046:(1771, Jommelli)
2008:
2007:
1868:
1867:
1784:
1777:
1770:
1761:
1760:
1750:Simon Keenlyside
1744:production with
1628:'s recording of
1563:Ewans, Michael,
1528:
1514:
1511:
1505:
1502:Gallica - B.N.F.
1498:
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1222:
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1213:
1195:
1189:
1155:
1149:
1142:
1133:
1126:
1120:
1086:
1080:
1077:
1071:
1064:Bruce Alan Brown
1061:
1055:
1052:
1046:
1043:
1037:
1034:
1028:
1025:
1019:
1016:
1010:
1007:
950:
945:, "Spectacles",
943:Journal de Paris
926:Journal de Paris
783:from his ballet
714:Marco Coltellini
332:(Conductor: – )
321:
320:
307:Luchino Visconti
227:(1899), and the
196:Lorenzo Da Ponte
139:Niccolò Piccinni
43:
38:
2588:
2587:
2583:
2582:
2581:
2579:
2578:
2577:
2528:
2527:
2526:
2514:
2506:
2504:
2499:
2479:
2456:
2438:
2395:Paride ed Elena
2278:L'île de Merlin
2153:
2135:
2130:
2100:
2091:
2072:
2038:(1763, Traetta)
1991:
1966:
1941:
1923:
1904:
1885:
1855:
1805:
1788:
1714:Wayback Machine
1701:Wayback Machine
1685:
1660:Rushton, Julian
1526:
1518:
1517:
1512:
1508:
1499:
1495:
1456:Gastoué, Amédée
1453:
1449:
1440:
1436:
1431:
1420:
1416:Cumming, p. 226
1415:
1411:
1406:
1402:
1397:
1393:
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1371:
1366:
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1225:
1220:
1216:
1203:Théâtre Lyrique
1196:
1192:
1156:
1152:
1144:Jeremy Hayes, "
1143:
1136:
1127:
1123:
1087:
1083:
1078:
1074:
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1026:
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1017:
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1008:
1004:
994:
989:
983:
951:
941:
906:
892:Paride ed Elena
820:Non dirmi ch'io
801:L'île de Merlin
780:opéras comiques
771:
758:
710:Tommaso Traetta
674:
627:
585:
539:
479:
459:
331:
319:
252:Adolph Fürstner
248:Richard Strauss
160:Grand Duke Paul
113:
60:was written by
36:
28:
17:
12:
11:
5:
2586:
2576:
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2555:
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2367:
2359:
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2274:
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2250:
2242:
2234:
2226:
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2210:
2202:
2194:
2186:
2178:
2170:
2161:
2159:
2155:
2154:
2152:
2151:
2146:
2144:List of operas
2140:
2137:
2136:
2129:
2128:
2121:
2114:
2106:
2097:
2096:
2093:
2092:
2090:
2089:
2080:
2078:
2074:
2073:
2071:
2070:
2062:
2061:
2060:
2054:(1779, Gluck)
2047:
2039:
2031:
2023:
2014:
2012:
2005:
1997:
1996:
1993:
1992:
1990:
1989:
1982:
1974:
1972:
1968:
1967:
1965:
1964:
1957:
1949:
1947:
1943:
1942:
1940:
1939:
1931:
1929:
1925:
1924:
1922:
1921:
1912:
1910:
1906:
1905:
1903:
1902:
1893:
1891:
1887:
1886:
1884:
1883:
1874:
1872:
1865:
1857:
1856:
1854:
1853:
1847:
1841:
1835:
1829:
1823:
1816:
1814:
1807:
1806:
1787:
1786:
1779:
1772:
1764:
1758:
1757:
1752:
1729:
1716:
1703:
1691:
1684:
1683:External links
1681:
1680:
1679:
1670:Sadie, Stanley
1667:
1657:
1652:Pitou, Spire,
1650:
1632:
1619:
1605:Holden, Amanda
1602:
1595:Heartz, Daniel
1592:
1585:Antony Peattie
1581:Harewood, Earl
1578:
1568:
1561:
1550:
1516:
1515:
1506:
1493:
1480:10.2307/926910
1447:
1434:
1432:Holden, p. 385
1418:
1409:
1400:
1398:Holden, p. 370
1391:
1382:
1369:
1360:
1351:
1337:
1316:
1307:
1298:
1273:
1259:
1246:
1223:
1214:
1190:
1181:Œdipe à Colone
1150:
1134:
1121:
1081:
1072:
1056:
1047:
1038:
1036:Holden, p. 371
1029:
1020:
1011:
1009:Holden, p. 779
1001:
1000:
993:
990:
982:
979:
974:Richard Wagner
939:
914:divertissement
905:
902:
901:
900:
885:Final chorus (
883:
877:
851:
846:Act 2 chorus:
844:
829:
823:
808:
770:
767:
757:
754:
696:Neo-classicism
673:
670:
657:dea ex machina
626:
623:
584:
581:
538:
535:
478:
475:
472:(1766), detail
458:
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452:
451:
442:
441:
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407:
402:
397:
386:
385:
383:Henri Larrivée
380:
371:
360:
359:
354:
345:
334:
333:
328:
325:
318:
315:
301:in 1957, with
292:Martina Franca
241:Pierre Monteux
233:Wagner Society
220:King's Theatre
216:Gendarmenmarkt
133:at the second
112:
109:
15:
9:
6:
4:
3:
2:
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2254:Il re pastore
2251:
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2240:
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2227:
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2199:
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2179:
2176:
2175:
2171:
2168:
2167:
2163:
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2160:
2156:
2150:
2147:
2145:
2142:
2141:
2138:
2134:
2127:
2122:
2120:
2115:
2113:
2108:
2107:
2104:
2087:
2086:
2082:
2081:
2079:
2075:
2068:
2067:
2063:
2059:
2056:
2055:
2053:
2052:
2048:
2045:
2044:
2040:
2037:
2036:
2032:
2030:(1724, Vinci)
2029:
2028:
2024:
2021:
2020:
2016:
2015:
2013:
2009:
2006:
2004:
2003:
1998:
1988:
1987:
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1980:
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1969:
1963:
1962:
1958:
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1944:
1938:
1937:
1933:
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1926:
1919:
1918:
1914:
1913:
1911:
1907:
1900:
1899:
1895:
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1888:
1882:(1774, Gluck)
1881:
1880:
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1738:Robert Carsen
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1631:
1627:
1624:, booklet to
1623:
1622:Krause, Ernst
1620:
1618:
1617:0-140-29312-4
1614:
1610:
1606:
1603:
1600:
1596:
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1572:
1571:Grout, Donald
1569:
1566:
1562:
1559:
1555:
1554:Thomas Bauman
1551:
1548:
1547:Opera Manager
1544:
1540:
1536:
1532:
1525:
1524:
1523:
1522:
1510:
1503:
1497:
1489:
1485:
1481:
1477:
1474:(54): 87–99.
1473:
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1444:
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1269:
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1239:
1230:
1228:
1221:Pitou, p. 289
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1024:
1018:Krause, p. 14
1015:
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512:Clytaemnestra
508:
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502:
498:
493:
492:
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486:
471:
467:
466:Benjamin West
463:
450:
448:
443:
440:Châteauvieux
439:
436:
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429:
428:
424:
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419:
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416:
410:
409:
406:
405:Joseph Legros
403:
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388:
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353:
352:mezzo-soprano
349:
346:
344:
340:
336:
335:
329:
326:
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314:
312:
308:
304:
303:Nino Sanzogno
300:
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249:
244:
242:
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229:Opéra-Comique
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217:
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209:
208:Michael Kelly
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33:
26:
22:
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2409:
2401:
2393:
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2377:
2369:
2361:
2353:
2345:
2337:
2324:
2318:Le cadi dupé
2316:
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2300:
2292:
2284:
2276:
2268:
2260:
2252:
2244:
2236:
2228:
2220:
2212:
2204:
2196:
2188:
2180:
2172:
2164:
2083:
2064:
2050:
2049:
2041:
2033:
2025:
2017:
2000:
1984:
1977:
1959:
1952:
1934:
1915:
1896:
1877:
1860:
1850:Chrysothemis
1834:(stepfather)
1826:Clytemnestra
1796:
1790:
1746:Susan Graham
1733:
1727:Susan Graham
1673:
1663:
1653:
1647:Google Books
1638:
1629:
1608:
1598:
1588:
1574:
1564:
1557:
1534:
1530:
1527:(in Italian)
1520:
1519:
1513:Grout p. 268
1509:
1496:
1471:
1467:
1461:
1458:(May 1935).
1450:
1442:
1437:
1412:
1403:
1394:
1385:
1380:for May 1779
1377:
1372:
1363:
1354:
1347:books.google
1346:
1340:
1333:(in Italian)
1326:
1319:
1310:
1301:
1294:(in Italian)
1290:1 June 1957"
1283:
1276:
1267:
1262:
1249:
1237:
1234:(in Italian)
1217:
1193:
1179:
1165:
1153:
1145:
1129:
1124:
1112:
1108:
1093:Google Books
1088:
1084:
1075:
1067:
1059:
1050:
1041:
1032:
1023:
1014:
1005:
996:
995:
964:
960:Donald Grout
955:
953:
946:
942:
931:
925:
913:
909:
907:
897:Vieni al mar
896:
890:
886:
880:
874:
870:
854:
847:
840:
836:
832:
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788:
784:
779:
772:
749:
744:
743:
736:
734:
729:
725:
721:
717:
703:
689:
683:
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661:
655:
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640:
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546:
542:
540:
530:
528:
519:
515:
509:
504:
499:, sister of
494:
482:
480:
469:
445:
412:
394:
368:
342:
311:Maria Callas
296:
267:
245:
203:
186:
185:had had the
177:
155:
149:
142:
126:
125:
120:
90:
84:
76:
68:
66:
48:) is a 1779
45:
31:
30:
29:
2548:1779 operas
2058:discography
1954:The Bacchae
1389:Ewans p. 43
1305:Blanchetti.
1117:Treccani.it
1105:basso buffo
873:in Gluck's
831:Act 2 aria
369:her brother
337:Iphigénie (
327:Voice type
225:Renaissance
204:Burgtheater
192:opera buffa
187:Burgtheater
131:Paris Opéra
73:recitatives
2532:Categories
2174:Ipermestra
2166:Demofoonte
1587:, (Eds.),
1201:, but the
992:References
981:Recordings
688:' tragedy
395:his friend
260:Hoftheater
105:Trojan War
69:Iphigénie,
2371:La corona
2222:Le cinesi
1917:Iphigenia
1898:Iphigénie
1840:(brother)
1832:Aegisthus
1820:Agamemnon
1813:'s family
1811:Iphigenia
1803:Euripides
1664:Iphigénie
1630:Iphigénie
969:sforzando
910:Iphigénie
895:(Chorus:
881:Sémiramis
827:Sémiramis
785:Sémiramis
726:Sémiramis
722:Sémiramis
686:Euripides
524:Scythians
497:Iphigenia
447:Scythians
339:Iphigenia
239:and with
237:Amsterdam
183:Joseph II
101:Agamemnon
97:Euripides
2494:Category
2474:Chaconne
2451:Don Juan
2363:Telemaco
2246:Antigono
2230:La danza
1852:(sister)
1846:(sister)
1828:(mother)
1822:(father)
1732:Gluck's
1710:Archived
1697:Archived
1689:Libretto
1637:(1878).
1626:Gardiner
1284:Ifigenia
1257:" series
1176:Sacchini
1164:); only
940:—
875:Antigono
816:Telemaco
672:Libretto
457:Synopsis
437:soprano
413:King of
389:Pylade (
374:baritone
363:Oreste (
246:In 1889
168:baritone
81:continuo
58:libretto
2461:Related
2422:(1779)
2379:Alceste
2329:(1762)
1971:Related
1946:Trilogy
1844:Electra
1838:Orestes
1721:at the
1672:(Ed.),
1607:(Ed.),
1583:of and
1521:Sources
1158:Lajarte
1109:Mandini
889:) from
863:Partita
861:of the
839:(Aria:
776:Italian
629:Scene:
587:Scene:
569:Electra
541:Scene:
501:Orestes
481:Scene:
430:Diane (
415:Scythia
411:Thoas,
391:Pylades
365:Orestes
348:soprano
258:at the
200:Italian
37:French:
2553:Operas
2508:Portal
2443:Ballet
2435:(1779)
2414:(1777)
2411:Armide
2406:(1774)
2398:(1770)
2390:(1769)
2382:(1767)
2366:(1765)
2358:(1765)
2350:(1764)
2342:(1763)
2321:(1761)
2313:(1760)
2310:Tetide
2305:(1760)
2297:(1759)
2289:(1759)
2281:(1758)
2273:(1759)
2265:(1758)
2257:(1756)
2249:(1756)
2241:(1755)
2233:(1755)
2225:(1754)
2217:(1752)
2209:(1750)
2201:(1748)
2193:(1747)
2185:(1746)
2177:(1744)
2169:(1743)
2158:Operas
2088:(1779)
2011:Operas
1920:(1977)
1901:(1674)
1871:Operas
1615:
1556:(ed.)
1541:
1488:926910
1486:
1288:
1236:Page:
1186:p. 355
1172:p. 276
1162:p. 309
1068:Vienna
818:(Aria:
700:Goethe
561:Furies
489:Tauris
264:Goethe
256:Weimar
212:Berlin
164:Vienna
152:German
2522:Opera
2077:Plays
1928:Novel
1890:Plays
1725:with
1484:JSTOR
1240:, in
1111:, in
997:Notes
958:. As
947:Opéra
859:gigue
853:Aria
835:from
814:from
810:Aria
756:Music
625:Act 4
603:Argos
583:Act 3
537:Act 2
485:Diana
477:Act 1
432:Diana
400:tenor
378:tenor
324:Role
317:Roles
172:tenor
67:With
50:opera
2206:Ezio
1909:Film
1795:and
1748:and
1643:View
1613:ISBN
1539:ISBN
1099:and
421:bass
1801:by
1645:at
1476:doi
1178:'s
867:BWV
728:in
702:'s
668:).
621:).
579:).
507:).
487:in
393:),
376:or
367:),
350:or
341:),
290:at
235:of
170:to
162:to
52:by
2534::
1597:,
1573:,
1482:.
1472:16
1470:.
1466:.
1421:^
1335:..
1226:^
1137:^
1119:).
1066:,
928::
732:.
716:,
468::
434:)
294:.
107:.
64:.
44:,
2510::
2125:e
2118:t
2111:v
1783:e
1776:t
1769:v
1649:.
1549:)
1504:.
1490:.
1478::
1464:"
1329:"
1325:"
1296:.
1286:,
1282:"
1188:)
899:)
843:)
822:)
491:.
35:(
27:.
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