Opera Plots I - MDC Faculty Home Pages

obtained the love she craved for, that she glories in her conquest of this hero more than in that of
all the others who have fallen beneath her sway. Rinaldo, however, is presently sought out by his
friends, Ubalt and another knight, who, though kept at bay for a time by the spells and magic of
Armida who puts all kinds of obstacles in their way, even sending a demon to attack them at
length discover their comrade's retreat; and, reproaching him for his lapse, they entreat him to
return to the Crusade Army, since his supposed fault has now been cleared. At the sight of his
noble companions, Rinaldo's high sense of religious duty and loyalty reasserts itself; and though it
is a mighty wrench, he announced his resolve to return to his charge once more. Armida
passionately implores him to remain with her, using all her arts to keep him at her side; but
Rinaldo has shaken himself free from her fascinations, and he bids her farewell for ever. Armida
then attempts to slay him, but finds her love too strong to destroy the object of it, and in despair
she transforms her voluptuous gardens into a bare desert, determining that, since her one true lover
has departed, she will no longer seek to entice the affections of other men.
56. IPHIGENIA IN AULIS
Grand Opera in Three Acts By Christoph Willibald Gluck
Libretto Adapted by R. Wagner
First Produced Paris, 1874
Chief Characters Iphigenia, Clytemnestra, Diana, Agamemnon, Achilles, Calchas
THE story is adapted from the Greek legend, and follows it pretty closely. Agamemnon is in Aulis
with his army, awaiting a favourable wind to carry him to Troy; and the High Priest Calchas
comes to him to announce that the elements can only be propitiated by the sacrifice of his
beautiful young daughter) Iphigenia, to the goddess Diana (Artemis). Agamemnon is torn between
his religious and kingly duty and his love for his child, and he is in despair when he is presently
joined by his queen, Clytemnestra, and Iphigenia herself, whom he had tried to prevent journeying
thither by a messenger, who had not reached them. Achilles is present also, he being the lover of
Iphigenia, and the pair make arrangements for their immediate marriage. When Iphigenia,
however, appears before the altar in her bridal gar-ments, the messenger arrives and delivers the
dreadful announcement that she is intended for the sacred sacrifice. Achilles is furious at this
interruption, and declares he will slay anyone who dares to harm his beloved one; but his
stormings are of no avail, and in Act 3 Iphigenia is led to the sacrificial altar. She is quite resigned
to her fate, firmly believing it her duty to her father's people to thus appease the angry goddess
who keeps from them the favourable wind they desire; and when Achilles implores her
passionately to fly with him, since he can secure her escape, she gently, but firmly, refuses, being
determined to perform the sacred renunciation required of her. Achilles then hastens away to
gather his soldiers together, whilst Iphigenia permits herself to be laid on the sacrificial stone, to
the satisfaction of the stern, expectant people. Agamemnon and Clytemnestra plead passionately
for their daughter's life to be spared, but their tears and entreaties are in vain to move the stony
heart of the High Priest, Calchas, who seizes his knife, ready to strike the fatal blow, just as
Achilles dashes into the midst of the crowd with his band of faithful followers. The hero, however,
sees that he will be too late, and is in despair; but just as the cruel knife is about to fall, the
goddess Diana appears in the midst of a thundercloud, and announces that she does not desire the
blood of Iphigenia, but, finding her pure, fair-minded and faithful, she requires her service as a