The Iphigenia stories were Euripides's political statement against the effect of war on nations/people.
- Iphigenie en Aulide, Overture
- Iphigenie en Aulide, Air Gai-Lento (A greeting to Iphigenia in Aulis)
- Iphigenie en Aulide, Air Gai
- Iphigenie en Aulide, Moderato-Allegro (The maidens of Chalkis play at ball and knucklebones)
- Iphigenie en Aulide, Menuetto
- Iphigenie en Aulide, Allegretto-Menuetto-Andante-Passe Pied-Air Gai (The Maidens see the Greek fleet in the distance and dance for joy of the sight)
- Iphigenie en Aulide, Moderato non lento-Dance des Esclaves-Tambourin
- Iphigenie en Aulide, Passacaglia-Gavotte (Harvest Dance / Skirt Dance)
- Iphigenie en Tauride, Choeur des Pretresses (Priestess)
- Iphigenie en Tauride, Danses des Scythes
- Armide, Musette
- Iphigenie en Aulide, Sicilienne-Bacchanale
- Iphigenie en Aulide, Musette III (Caryatid Dance)
Reference: Loewenthal, Lillian. The Search for Isadora: The legend & legacy of Isadora Duncan. Dance Horizons, 1993.
Gluck's two operas—Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779)—were revered by the dancer and were long a choreographic preoccupation of hers. From them, she fashioned a single concert-length production. Into the second section ("Tauride") she interpolated an orchestral arrangement by Felix Mottl from yet another Gluck opera, Armide, which furnished the accelerating mood of celebration in the closing portion with dances of an added joyous character. With Iphigénie, another block of Isadora's broadening exploration into music for her dance was set in place. It was possibly her chef-d'oeuvre, the apex of her lyric-dramatic style, and remained an actively integral part of her repertory.