George Frideric Handel wrote Serse in 1738, towards the end of his long and fruitful operatic journey. Like other operas of this period, it was a total fiasco at the premiere, perhaps due to the audience’s changing taste, or maybe the opposite: Handel tried to do something new, to diverge from the strict Metastasian canon, introducing comic elements into an opera seria, and including many arias deviating from the A-B-A form. Critics talked about “buffoonery” and Serse fell into oblivion, to be resurrected only during last century, now becoming one of Handel’s most represented works.
The plot revolves around the personal life of Xerxes I of Persia, depicted here as a spoiled brat who has never been denied anything. His immense power has always granted him whatever he desires. In a sense, it’s a coming-of-age story. Serse, for the first time, encounters something beyond his control: love. First, he kind of falls in love with a tree. Then, he cannot force Romilda, the object of his affections, to return his feelings, nor can he change his feelings for her. Finally, even after banishing his brother Arsamene and threatening his life, he cannot stop Romilda from loving him. This realisation devastates Serse, and his emotional turmoil leads to erratic behaviour, which, in an all-powerful tyrant, instils terror in everyone around him. Ultimately, he regains his senses and returns to his abandoned fiancée, Amastre, a suitable royal match, while Romilda and Arsamene are free to marry and pursue their happiness.
Director Nina Russi relocates the action to the present day, creating a soap opera-like atmosphere where Serse is depicted as a powerful, wealthy figure, elegant and polished, with costumes designed by Annemarie Bulla. In contrast, his brother Arsamene embodies an anarcho-metal aesthetic, complete with long hair, tattoos, electric guitar and a T-shirt that reads “EAT THE RICH”. The set features two distinct dollhouses: a luxurious, cold one for Serse and a shabby, cosy one for Arsamene, designed by Julia Katharina Berndt. The visuals are vibrant and dynamic, enhanced by video projections by Ruth Stofer. Despite some typical challenges of setting the story in the 21st century, such as the question of why everyone seems so terrified of Serse, who appears to be just an ordinary rich guy, the adaptation largely works well. It does not impede the singers and, despite some exaggerations, proves ultimately to be an entertaining experience.
Enrico Onofri conducted local Baroque ensemble La Scintilla with a somewhat heavy hand, at times stifling the natural flow of the music as he seemed to force it forward with sheer will. This approach occasionally resulted in an edgy sound that felt less organic. However, he also delivered a vibrant and energetic performance, maintaining a consistent pace and achieving impressive cohesion between the orchestra and the stage. La Scintilla showcased impeccable intonation and a strong sense of ensemble.
Most of the cast, apart from Gregory Feldmann, were making their debuts in these roles, all demonstrating impressive commitment. Raffaele Pe portrayed Serse, exhibiting a countertenor voice that occasionally turned harsh and acidic on the high notes, although his coloratura was fast and reliable. He effectively captured Serse’ excesses, bringing the whimsical emperor to life with conviction.
Christophe Dumaux delivered a spectacular performance as Arsamene. His dark, velvety countertenor showcased flawless coloratura and exquisite, powerful high notes, backed by remarkable breath control and musicality. His uncanny ability to immerse himself in the character, combined with perfectly timed gestures and effortless charisma, made him the standout of the evening. His aria “Sì, la voglio” was arguably the highlight of the performance.
Romilda was portrayed by Anna El-Khashem, whose high soprano possessed a unique dark timbre, offering more depth than typically expected from a singer so adept in Baroque repertoire. Despite this richness, her upper notes were effortless, and her coloratura was both quick and precise. She demonstrated impressive versatility, excelling in both lamenting arias and faster, more vivacious pieces. Atalanta, Romilda’s sister who plots against her to win Arsamene, was performed by Miriam Kutrowatz. Kutrowatz's soprano was bright and silvery, with an impressive extension in her upper register, and her interpretation was full of spirit.
Noa Beinart sang Amastre, Serse’s neglected fiancée, with a naturally deep contralto that had a rich, bronzed tone. Romilda and Atalanta’s father, Ariodate, was depicted as a confused and clueless "boomer", overwhelmed by his daughters' antics. Miklos Sebestyén brought elegance to the role with a secure and resonant bass. The final character in the cast was Elviro, Arsamene’s confidant and a buffo character providing comic relief. Gregory Feldmann embraced the role, delivering a lively performance as a drag queen in this production, his booming lower notes humorously contrasting with the camp character, making for an entertaining and successful portrayal.
