⭐⭐⭐⭐⭐

The cast of Ifigenia in Aulide at Bayreuth Baroque Opera Festival © Clemens Manser Photography

This new production of Nicola Porpora’s Ifigenia in Aulide (to a libretto by Paolo Antonio Rolli) was heard as part of the fifth edition of the Bayreuth Baroque Opera Festival. Although Les Talens Lyriques and Christophe Rousset staked their claim to Porpora via their contribution to the soundtrack of the film Farinelli (‘Alto Giove,’ from Polifemo, with Ann Hallenberg), here their adherence flowered as part of their Bayreuth residency. 

Porpora’s importance to opera in England is worth mentioning: he offered the rival camp to Handel via his ‘Opera of the Nobility’. Porpora’s music is more ‘modern’ than Handel’s, often more gallant, full of lyricism as well as dramatic dynamism. He also trained the castrati Farinelli, Il Senesino and Il Porpoino and Senesino sang Achille and Farinelli Agamemnone in Ifigenia. Back to the Germany of today, and Porpora’s 1738 opera Carlo il Calvo was produced in Bayreuth in 2020/1, while Polifemo (1735) was heard in a concert version in 2021. 

The revivification of Ifigenia is significant, therefore, and it would be difficult to imagine a more perfect setting than the lush Margravial Opera House in Bayreuth. First heard in London in 1735 at the King’s Theatre, Haymarket, it touched on a popular subject also set by composers such as Gluck, Soler, Pleyel, Graun and Caldara. Porpora's opera  received five initial London performances.

The plot of Ifigenia is not for the faint-hearted with animal and human slaughter being vital parts of the story. It could be argued the opening scene was not for milquetoasts, either, given director Max Emmanuel Cenčić’s depiction of pagan/warrior revelry via male nudity that revealed all. And while we do not see the final death of Ifigenia, a slaughtered, taxidermically prepared stag seems to tell us all we need to know.

© Falk von Traubenberg

The cast included the incredibly experienced countertenor Max-Emaniel Cenčić, dominating the stage as Agamemnon (Agamennone). Cenčić was also director, offering a production of great power, with stage space and lighting used to fine effect. The cast overall was balanced between experience and the new. Countertenor Maayan Licht took the part of Achille (Achilles) and, with it, impressed in one of the most famous arias from the opera, ‘Le limpid’onde’ and the highly ornamented ’Nel già bramoso petto’. The opposition duet between Achilles and Calcante in Act 2, ‘Per cader,’ was convincingly done (with Riccardo Novaro). 

Cenčić brought the full weight of experience to his role, throwing himself fully into the incendiary aria ‘Tu spietato non ferai’ (more so than on his Decca recording). Jasmin Delfs took the title role and that of Diana, beautifully pure of voice. And although sung by Delfs, there was also an actress for Ifigenia, Marina Diakoumakou. Mary-Ellen Besi was an appropriately fearsome Clittenestra, with Nicolò Balducci a solid Ulisse. 

Although I have seen academic commentary questioning the inspiration for the libretto (and indeed Porpora’s response), Rousset’s vital direction completely dispelled any doubts. Some unexpected Porpora enriched the previous evening: male soprano Bruno de Sá stepped in for an indisposed Jakub Jósef Orliński, and (with Il Pomo d’Oro) sang ‘Parto ti lascio’ from Germanico in Germania.

Rousset's Ifigenia will be available on arte Concert and BR Klassik from September 15