Tonight was to be something of an event: the gala premiere of Christoph Willibald Ritter von Gluck’s Iphigénie en Tauride. This new, much-celebrated Metropolitan Opera co-production with Seattle Opera is directed by Stephen Wadsworth (recently named the first Director of Opera Studies for the Juilliard Opera Center) and conducted by Mostly Mozart musical director Louis Langrée, in his Met debut. Americans mezzo-soprano Susan Graham and tenor Paul Groves, who opened London’s Royal Opera House season, took up the roles of Iphigénie and Pylade again tonight with the incomparable Plácido Domingo starring as Iphigénie’s brother, Oreste. (This Met production was also broadcast live on December 8.)

I knew nothing about Iphigénie en Tauride going in to the evening, though I had vague recollections of the Euripides’ drama that inspired it. Gluck’s opera premiered in Paris on May 18, 1779, but did not have its United States debut at the Met (in German) until 137 years later, on November 25, 1916. Since then it has only been staged five times, the last in 1917, so tonight was an occasion indeed.

We had planned on a special evening: the tuxes, furs and glittering jewels were out on display tonight, and how many opportunities do I get to don an evening gown, after all? Unfortunately, the lack of sleep these past couple of days finally took its toll tonight, and I ended up in the upper balcony, exhausted before curtain, and passed out in my seat by Act II. Now that’s embarrassing. No fault of the performances, though, which from what I recall were quite beautiful… and apparently very soothing.

As I slipped out during intermission, I passed Tyne Daly on the spiral staircase, whom depending on your reference point, is best remembered as Detective Mary Beth Lacey from 80’s cop show Cagney & Lacey or Maxine Gray from the 90s judicial drama Judging Amy. Did anyone else besides me have trouble distinguishing that latter show from Providence?