Le parti pris de la production, où la protagoniste est hantée par le passé, pendant son séjour au centre gériatrique, bien que toujours intéressant et d’actualité, ne choque plus. En ce qui concerne cette toute première mise en scène d’opéra, 15 ans après, les moyens warlikowskiens ont perdu de leur attrait. Seul le travail d’acteur sauve la production scénique. L’excellente caractérisation des artistes sur scène révèle une fine direction théâtrale. L’Iphigénie de Tara Erraught est dans ce sens émouvante et intense à souhait, habitée par le personnage, tout en gardant une ligne mélodique immaculée,

The bias of production, where the protagonist is haunted in the past, during her stay at the geriatric centre, although still interesting and topical, no longer shocks. As for this very first opera staging, 15 years later, the Warlikowskians means have lost their appeal. Only acting work saves stage production. The excellent characterisation of the artists on stage reveals a fine theatrical direction. Tara Erraught's Iphigenia is in this sense moving and intense, inhabited by the character, while keeping an immaculate melodic line, a radiant timbre, her air of the third act remains difficult to forget. Jarrett Ott's Oreste is just as embodied, even if he plays a role as a stunned handsome; his voice is deliciously velvety. The magnificent Jean-François Lapointe is unrecognisable in Thoas, all tattooed, wheelchair. If he executes the director's particular instructions with dignity, he strikes as usual by his undeniable mastery of French, and even as an ugly and wicked king, we are conquered by his instrument, by the vigour and beauty of singing.