After devastatingly defeating Prussian forces in 1806, Emperor Napoleon’s forces occupied Berlin, reduced Prussia’s territories, and forced King Friedrich Wilhelm III into exile. When the king returned to Berlin in 1809, the Nationaltheater staged Christoph Willibald von Gluck’s Iphigénie en Aulide (1774) in German translation as part of a larger dynastic celebration. On the one hand, these festivities attempted to restore a monarchical power structure. On the other hand, the staging of Gluck’s French opera represented a desire to appropriate Gluck’s works within a changing Prussian-German nationalist discourse. In particular, the writings of E. T. A. Hoffmann, J. D. Sander, and others sought to capture the Teutonic nature of Gluck’s ‘reform operas’. Drawing upon primary sources and recent research, this article demonstrates the manner in which this performance of Iphigénie en Aulide represents a confluence of political, cultural, and nationalist ideologies in the midst of a German national identity crisis.

拿破仑皇帝于1806年大败普鲁士军队后，占领了柏林，缩小了普鲁士的领土，并迫使腓特烈·威廉三世国王流放。当国王于1809年返回柏林时，国家剧院上演了克里斯托弗·威利巴德·冯·格鲁克（Christoph Willibald von Gluck）的《伊菲盖尼·奥立德》（Iphigénieen Aulide）（1774年）德语翻译，是较大的王朝庆祝活动的一部分。一方面，这些庆祝活动试图恢复君主制的权力结构。另一方面，格鲁克的法国歌剧演出代表了一种渴望在变化的普鲁士-德国民族主义话语中改编格鲁克的作品的愿望。特别是，ETA Hoffmann，JD Sander等人的著作试图抓住格鲁克“改革歌剧”的条顿人性。借助主要来源和最新研究成果，本文证明了Iphigénieen Aulide的这种表现方式代表了在德国民族认同危机中政治，文化和民族主义意识形态的融合。